Czech Philharmonic / Manfred Honeck
Manfred Honeck has served as Music Director of the Pittsburgh Symphony Orchestra since the season 2008/2009. After two extensions his contract will now run until the end of the 2019/2020 season. His successful work in Pittsburgh is captured on CD by the Japanese label Exton. So far, Mahlerʼs Symphonies Nos. 1, 3, 4 and 5, Tchaikovskyʼs Symphony No. 5 and Richard Straussʼs Ein Heldenleben have been released to critical acclaim. The recording of Mahler’s Symphony No. 4 has won an ICMA 2012 Award.
With great success, Manfred Honeck and his orchestra present themselves regularly to the European audience. Since 2010, annual tour performances have led them to numerous European music capitals and major music festivals, amongst them Rheingau Musik Festival, Schleswig-Holstein Musik Festival, Beethovenfest Bonn, Musikfest Berlin, Grafenegg Festival, Lucerne Festival and the BBC Proms. The 2012 tour focused on a weeklong residency at the Vienna Musikverein. In August and September 2013, concerts took place in Grafenegg, Berlin, Bucharest, Paris, Düsseldorf, Frankfurt, Lucerne and Bonn.
From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart where he conducted premieres including Berliozʼs Les Troyens, Mozartʼs Idomeneo, Verdiʼs Aida, Richard Straussʼs Rosenkavalier, Poulencʼs Dialogues des Carmélites and Wagnerʼs Lohengrin and Parsifal as well as numerous symphonic concerts. His operatic guest appearances include Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival.
Born in Austria, Manfred Honeck received his musical training at the Academy of Music in Vienna. Many years of experience as a member of the Vienna Philharmonic and the Vienna State Opera Orchestra and at the helm of the Vienna Jeunesse Orchestra have given his conducting a distinctive stamp.
He commenced his career as assistant to Claudio Abbado in Vienna. Subsequently, he was engaged by the Zurich Opera House, where he was bestowed the prestigious European Conductor’s Award in 1993. Other early stations of his career include Leipzig, where he was one of three main conductors of the MDR Symphony Orchestra and Oslo, where he assumed the post of Music Director at the Norwegian National Opera on short notice for a year and, following a highly successful tour of Europe, was engaged as Principal Guest Conductor of the Oslo Philharmonic Orchestra for several years. From 2000 to 2006 he was Music Director of the Swedish Radio Symphony Orchestra in Stockholm and, from 2008 to 2011, Principal Guest Conductor of the Czech Philharmonic Orchestra, a position he will resume for another three years starting with the season 2013/2014.
As a guest conductor Manfred Honeck has worked with leading international orchestras such as the Bavarian Radio Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Gewandhausorchester Leipzig, Staatskapelle Dresden, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. Orchestras he conducted in the USA include New York Philharmonic, The Cleveland Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic and Boston Symphony Orchestra. He is also a regular guest at the Verbier Festival. In February 2013 he gave his successful debut with the Berlin Philharmonic Orchestra, the direct result of which was a CD recording together with Anne-Sophie Mutter (works of Dvořák) for Deutsche Grammophon. In the season 2013/2014 he returned to Bamberg, New York, Los Angeles, Boston and Rome, amongst others, and made his debut with the Philadelphia Orchestra.
In 2010, Manfred Honeck earned an honorary doctorate from St. Vincent College in Latrobe, Pennsylvania. Moreover, he has been Artistic Director of the “International Concerts Wolfegg” in Germany for more than fifteen years.
“The best piano duo in front of an audience today”
New York Times
“Whether Mozart or Stravinsky, their musical line always sounds as if it’s being woven for the very first time... But the illusion of improvisation is the genius of their performances. In all their recordings there is a deceptive sprezzatura that is born of throwing the preparation to the winds and hanging onto each others ears.”
Katia and Marielle Labèque are sibling pianists renowned for their ensemble of synchronicity and energy. Their musical ambitions started at an early age and they rose to international fame with their contemporary rendition of Gershwin's Rhapsody in Blue (one of the first gold records in classical music) and have since developed a stunning career with performances worldwide.
They are regular guests with the most prestigious orchestras such as the Berlin Philharmonic, Bayerischer Rundfunk, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Leipzig Gewandhaus, London Symphony, London Philharmonic, Los Angeles Philharmonic, Filarmonia della Scala, Philadelphia Orchestra, Dresden Staatskapelle and Vienna Philharmonic, under the direction of Semyon Bychkov, Lionel Bringuier, Sir Colin Davis, Gustavo Dudamel, Charles Dutoit, Sir John Eliot Gardiner, Miguel Harth-Bedoya, Kristjan Järvi, Paavo Järvi, Zubin Mehta, Seiji Ozawa, Antonio Pappano, Georges Prętre, Sir Simon Rattle, Esa-Pekka Salonen, Leonard Slatkin, Michael Tilson Thomas and Jaap van Zweden.
They have appeared with Baroque music ensembles such as The English Baroque Soloists with Sir John Eliot Gardiner, Il Giardino Armonico with Giovanni Antonini, Musica Antica with Reinhard Goebel and Venice Baroque with Andrea Marcon, il Pomo d’Oro and also toured with The Age of Enlightenment & Sir Simon Rattle.
Katia and Marielle have had the privilege of working with many composers including Thomas Adčs, Louis Andriessen, Luciano Berio, Pierre Boulez, Philip Glass, Osvaldo Golijov, György Ligeti and Olivier Messiaen. On the 26th May 2015 Katia and Marielle gave in Los Angeles at Walt Disney Hall the world premiere of Philip Glass’s new Concerto (written for them) together with Los Angeles Philharmonic Orchestra under the direction of Gustavo Dudamel. A new concerto by Bryce Dessner, written specially for the piano duo, will be ready in 2018.
The Labèques play in festivals and renowned venues worldwide including the Vienna Musikverein, Hamburg Musikhalle, Munich Philharmonie, Carnegie Hall, Royal Festival Hall, La Scala, Berlin Philharmonie, Blossom, Hollywood Bowl, Lucerne, BBC Proms, Ravinia, Tanglewood and Salzburg. An audience of more than 33,000 attended a gala concert with the Berlin Philharmonic conducted by Sir Simon Rattle at Berlin’s Waldbühne, now available on DVD (EuroArts).
For their own label, KML recordings, they have released in 2014 the CD Sisters with a selection of musical pieces from their personal and professional lives. Previous releases include a Gershwin/Bernstein album, and their project Minimalist Dream House (50 years of Minimalist music). Next DVD release in collaboration with Euroarts will be out in spring 2017: The Labèque Way, a letter to Katia and Marielle by Alessandro Baricco produced by El Deseo (Pedro and Augustin Almodóvar) and filmed by Félix Cábez.
Katia and Marielle Labèque also launched the KML Foundation, aimed at furthering research and developing awareness of the duo piano repertoire through meetings between artists of all fields. One of the Foundation latest projects is a concert around Moondog's music, in collaboration with Kings Place in London, in continuity to their work on Minimalist composers.
In May 2015 the show Love Stories with the new piece Star-Cross'd Lovers by David Chalmin was premiered at the Paris Philharmonie. This original composition for two pianos, electric guitar and drums is based on the Shakespearean drama Romeo and Juliet. The choreography for 7 dancers is created by world-renowned break-dancer Yaman Okur (Madonna, Cirque du Soleil). The show was also presented in Paris in June 2016 at Chatelet, and the European tour will last until October 2016.
A record audience of more than 100.000 attended the Vienna Summer Night Concert 2016 in Schönbrunn (now available on CD and DVD by Sony), where Katia and Marielle played with the Vienna Philharmonic under the baton of Semyon Bychkov. More then 1,5 Milliard viewer followed the event worldwide on the TV.
Labèque’s label KML Recordings joined in Summer 2016 the historical label Deutsche Grammophon. A 2 CDs re-edition of their album Minimalist Dream House follow their concert at the Philharmonie de Paris on the 25th of September together with the first recording of their project Love Stories.
Their new record with Deutsche Grammophon dedicated to Stravinsky's Rite of Spring and Debussy's Epigraphes Antiques will be released in November 2016. At the same time the biography Une vie ŕ quatre mains by Renaud Machart will be published by Buchet-Chastel.
Born in Leningrad (St. Petersburg) in 1952, Semyon Bychkov was 20 when he won the Rachmaninov Conducting Competition. Two years later, having been denied his prize of conducting the Leningrad Philharmonic Orchestra, he left the former Soviet Union where, from the age of five, he had been singled out for an extraordinarily privileged education in music. First studying piano, Bychkov was then selected to study at the Glinka Choir School and received his first conducting lesson aged 13. Four years later he enrolled at the Leningrad Conservatory where he studied conducting with the legendary Ilya Musin.
By the time Bychkov returned to St Petersburg in 1989 as the Philharmonic’s Principal Guest Conductor, he had enjoyed success in the US as Music Director of the Grand Rapids Symphony Orchestra and the Buffalo Philharmonic. His international career, which had begun in France where he made his debuts with the Opéra de Lyon and at the Aix-en-Provence Festival, had taken off when a series of high-profile cancellations resulted in invitations to conduct the New York Philharmonic, Berlin Philharmonic and Royal Concertgebouw Orchestras. In 1989, he was named Music Director of the Orchestre de Paris; in 1997, Chief Conductor of the WDR Symphony Orchestra Cologne; and, the following year, Chief Conductor of the Dresden Semperoper.
Semyon Bychkov’s approach to music making combines innate musicality with the rigours of Russian pedagogy. With his time carefully balanced between the concert hall and the opera house, Bychkov conducts repertoire that spans four centuries.
In the opera house, Bychkov is recognised for his interpretation of Strauss, Wagner and Verdi. Nonetheless, while Principal Guest Conductor of Maggio Musicale Fiorentino, his productions of Janáček’s Jenůfa, Schubert’s Fierrabras, Puccini’s La bohème, Shostakovich’s Lady Macbeth of Mtsensk and Mussorgsky’s Boris Godunov were awarded the prestigious Premio Abbiati. Most recently, Semyon Bychkov conducted Tchaikovsky’s Eugene Onegin at the Royal Opera House – his recording of the work was chosen by Opera Magazine as one of the 30 ‘all-time great recordings’; and Wagner’s Parsifal at Madrid’s Teatro Real. He opened the 2016/2017 season at Covent Garden with a new production of Mozart’s Così fan tutte, and in spring 2017 Parsifal at the Wiener Staatsoper.
Bychkov’s recording career began in 1986 when he signed with Philips and began a significant collaboration which produced an extensive discography with the Berlin Philharmonic, Bavarian Radio, Royal Concertgebouw, Philharmonia, London Philharmonic and Orchestre de Paris. These were later followed by a series of benchmark recordings, the result of his 13-year collaboration (1997–2010) with WDR Symphony Orchestra Cologne. His recording of Lohengrin was voted BBC Music Magazine’s Record of the Year in 2010.
In October 2016, Decca released the first CD of the Tchaikovsky Project, a long-term collaboration with the Czech Philharmonic which will encompass all of Tchaikovsky’s symphonies, featuring Symphony No. 6 Pathétique coupled with Romeo & Juliet Fantasy-Overture.
Semyon Bychkov currently holds the Klemperer Chair of Conducting at the Royal Academy of Music, and the Gunther Wand Chair with the BBC Symphony Orchestra with whom he appears annually at the BBC Proms. The International Opera Awards named Semyon Bychkov 2015’s Conductor of the Year.
Shortly after finishing his Third Symphony in 1804, Ludwig van Beethoven began the first sketches of a work which would further develop the same idea – a fight crowned with a happy victory. The final preparation of Symphony No. 5 in C minor Op. 67, which came out of these sketches, took place in 1807–1808. It was first performed at a concert in the Theater an der Wien on 22 December 1808. In his Fifth Symphony Beethoven continued his efforts to compose a symphony as a compact music form culminating from the beginning to the end. Beethoven interconnected all movements by a recurring theme – the ominous four-note opening motif which he himself allegedly described as “fate knocking at the door”. It is characteristic that this symphony in four movements has been composed in C minor, the key which in the older Baroque affect aesthetics expressed sadness and tribulation, which has been an attribute of deepest tragedy in a number of previous works by Beethoven from Cantata on the Death of Emperor Joseph II through Sonata “Pathetique” to the funeral march from the above-mentioned Third Symphony.
Wolfgang Amadeus Mozart’s music was the love of Pyotr Ilyich Tchaikovsky’s life. The first example he encountered was Zerlina’s aria from Don Giovanni, which he heard at home on an orchestrion when he was only five. He was captivated by Mozart’s music ever after. Tchaikovsky consciously took inspiration from Mozart in works such as the Variations on a Rococo Theme for cello and orchestra, Op. 33, in his four orchestral suites and also in the Serenade for Strings, Op. 48. A work in four movements and featuring tightly integrated motifs, the Serenade was imbued by its composer with classical charm and lightness, while also showcasing Tchaikovsky’s mastery in combining Russian melody with western European composition techniques. This is particularly conspicuous in the fourth movement, where we hear the Burlak song On the Green Meadow in the Andante, while the Allegro features the old Russian song Under the Green Apple Tree. Tchaikovsky also moved the development section into this movement, having deliberately forgone it in the first movement – as Ludwig van Beethoven had done many times before him. The Serenade was premiered in Saint Petersburg in 1881 under the baton of the Czech conductor Eduard Nápravník.
Of Tchaikovsky’s symphonies, we can say with certainty that Symphony No. 3 in D major, Op. 29 is usually the least performed, even though there is no doubt about its considerable charm. Its five contrasting sections have a deeper psychological take compared to Tchaikovsky’s two previous symphonies. The course of the composition seems to show a way out of darkness into light: from the opening funeral march, the music passes into a festive procession and continues with poetic images alternating a fast, lofty as well as melancholy waltz. In the other movements, we are captivated by the above-mentioned lyrical meditation followed by vivid images of Scherzo, and the composition culminates in Finale in the atmosphere of spontaneous merriment. The work on this symphony went quickly; after three weeks Tchaikovsky could begin with instrumentation and at the beginning of August 1876 the symphony was completely finished. Its premiere took place in Moscow as early as 7 November under the direction of Nikolai Rubinstein, and shortly after that, on 24 January 1876, it was presented in St. Petersburg by Eduard Nápravník.
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