Due to recovering from a recent illness, the Chief Conductor Jiří Bělohlávek will unfortunately not be able to conduct the subscription concerts on 16, 17 and 18 November. He will be replaced by conductor Ondřej Vrabec, who has been working with the orchestra regularly in recent years. At the same time, there will be a change in the programme – Antonín Dvořák’s Symphony No. 6 will be performed instead of the two Bohuslav Martinů’s pieces. Thank you for your understanding.
Ludwig van Beethoven
Egmont, overture, Op. 84
Piano Concerto in A Minor, Op. 54
Symphony no. 6 in D major, Op. 60
The Rock H363, symphonic prelude for large orchestra
Symphony No. 2 H295
Born on 21 June 1987 in Tbilisi, Georgian pianist Khatia Buniatishvili was introduced to the piano at an early age by her mother. Aged six, she gave her début performance as soloist with an orchestra, and was subsequently invited to give guest performances in Switzerland, the Netherlands, France, Germany, Belgium, Italy, Austria, Russia, Israel and the USA.
Above all, she embraces pianists from earlier generations such as Rachmaninoff, Richter and Gould. Khatia’s warm, sometimes sorrowful playing may reflect a close proximity to Georgian folk-music, which, she attests, has greatly influenced her musicality.
During her studies at Tbilisi’s State Conservatoire, Khatia won a special prize at the Horowitz International Competition for Young Pianists in Kiev in 2003 as well as first prize at the Foundation to Assist Young Georgian Musicians competition set up by Elisabeth Leonskaya.
At the 2003 Piano Competition in Tbilisi, she became acquainted with Oleg Maisenberg, who persuaded her to transfer to Vienna’s University of Music and Performing Arts. Winner of the Bronze Medal at the 12th Arthur Rubinstein Piano Master Competition in 2008, she was also distinguished as the Best Performer of a Chopin piece and as Audience Favourite.
Khatia Buniatishvili has given critically acclaimed solo recitals and chamber music concerts at such renowned venues as London’s Wigmore Hall, Amsterdam’s Concertgebouw and the Musikverein in Vienna. In 2008 she made her US concert début at Carnegie Hall (Zankel Hall), performing Chopin’s Second Piano Concerto.
Buniatishvili has played with, among other orchestras, the Orchestre de Paris under Paavo Järvi, the Los Angeles Philharmonic, the Vienna Symphony Orchestra, the Orchestre National de France under Daniele Gatti and the Philharmonia Orchestra in London. She has also performed chamber music with musicians including Gidon Kremer and Renaud Capuçon.
A BBC Radio 3 New Generation Artist for 2009–2011, Khatia regularly collaborates with BBC orchestras. In 2010 she received a Borletti-Buitoni Trust Award and has been nominated by Vienna’s Musikverein and Konzerthaus as a Rising Star for the 2011/12 season.
In 2011 Khatia Buniatishvili made her recording debut with a Liszt recital on Sony Classical, following with her first recording accompanied with orchestra for a Chopin album.
In 2014, Buniatishvili released her third album on Sony Classical, titled Motherland. Rather than being devoted to one particular composer as her previous albums were, Motherland was an assortment of personally significant pieces, including music from her homeland Georgia. She dedicated the album to her mother. Her fourth album, Kaleidoscope, was released in 2016. It featured her interpretation of Pictures at an Exhibition as well as works by Ravel and Stravinsky.
Khatia Buniatishvili speaks five languages fluently and lives in Paris.
In spite of his age, the conductor and horn player Ondřej Vrabec (1979) is one of the most seasoned Czech artists. Though the majority of his recent musical activities is represented by conducting, he benefits from his rich artistic experience derived from intensive concert career of soloist, chamber and orchestra player dated long before the threshold of his adulthood. In mere 17 years, he sat down for the first time on the first chair of horn section of the Czech Philharmonic Orchestra and two years later, he was definitely appointed a solo horn player of this orchestra.
He is a graduate of Prague Conservatoire (horn – prof. B. Tylšar, conducting – prof. V. Válek, H. Farkač, M. Němcová, M. Košler) and of the Academy of Performing Arts in Prague (conducting - prof. R. Eliška, J. Bělohlávek, F. Vajnar and others). He has complemented his studies with frequent master courses (such as London Masterclasses, Hornclass, French Academy in Telč etc.), the most precious impulse for forming his artistic approach was the cooperation with the elite of world wind instrument school (Sergio Azzolini, Maurice Bourgue) and artistic support from some of the very top conductors of today (Sir John Eliot Gardiner, Jiří Bělohlávek, Benjamin Zander and other).
He holds the title of the absolute winner of the competition of conservatories in Ostrava, he has gained several other laureaute titles as a chamber player (Concertino Praga, the competition of the Mozart Society etc.) In 2007, he ranked the 4th place in the Prague Spring International Conducting Competition, he gained a honorary mention of the jury and other two special awards for the most successful Czech candidate. In 2015 he was finalist of the Tokio International Conducting Competition and gained Honorary Mention. As a solo player he has performed with tens of Czech and foreign orchestras (among others Czech Philharmonic Orchestra, Royal Flemish Philharmonic, Nagoya Philharmonic Orchestra, Bavarian Chamber Orchestra, Sólistes Européenes Luxembourg, NCPA Orchestra Beijing, Augsburg Philharmonic Orchestra, State Philharmonic Košice, Rzeszow Philharmonic, Lviv Philharmonic) under the baton of world famous conductors like Sir John Eliot Gardiner, Edo de Waart, Vladimir Ashkenazy, Ian Volkov, Lü Jia etc., he also often presented himself to audience with solo recitals.
He has always been very active on the field of chamber music (especially with the Brahms Trio Prague and the PhilHarmonia Octet, formerly with the Maurice Bourgue Ensemble, the Juventus Quintet, the Czech Philharmonic Horn Club etc.). He created an extensive sound recording library for Czech Radio and several gramophone titles. The profile CD of Brahms Trio Prague, realized in a unique manner in his own music and sound directing, has gained great responses of critics both at home and abroad. The reviewer of the prestigious American magazine Fanfare termed it probably the best world recording of Trio Es Dur, op. 40 by J. Brahms being realized so far.
Ondřej Vrabec has inspired, both in direct and indirect ways, the emergence of many contemporary compositions for various instrumental casts in combination with horn. Most of them are dedicated to him and were usually performed or recorded by him in a world premiere. Also his pedagogic activity has been gaining more and more respect – he leads master courses (Japan, Canada, Great Britain, Czech Republic) and he regularly cooperates with the Japanese educational society And Vision Inc. Tokio. Students from various parts of the world have been coming to his private lessons to the Prague Rudolfinum.
As a conductor, Ondřej Vrabec regularly cooperates with the majority of Czech professional orchestras including the very top Czech Philharmonic and Prague Philharmonia. He held the title of Assistant Conductor of the Czech Philharmonic Orchestra which grants him high number of valuable conducting opportunities every season. He also conducted some foreign ensembles (Japan Philharmonic, New Japan Philharmonic), Reykjavik Chamber Orchestra, State Philharmonic Košice - Slovakia, Galeria Wind Orchestra Tokio, London Soloists Chamber Orchestra, Denmark National Symphony Orchestra, State Philharmonic Oradea, Lviv Virtuosi etc). He presented himself at some international festivals (Prague Spring, Anima Mundi, Mitte Europa, Český Krumlov). He is a permanent member of the team of conductors of Ostrava Days International New Music Festival, one of the biggest contemporary music events around the globe. His opera experiences include world premiere of operas "Lists of Infinity" by Martin Smolka, "Protracted Sinuous Movement of a Longitudinal Object" by Petr Cígler, "Encounter" by Mojiao Wang and also two complete productions of Figaro's Wedding at the opera in Ústí nad Labem and at the Theatre Komedie in Prague. Together with the legendary choreographer Yuri Vámos he prepared balet version of The Midsummer Night Dream for the National Theatre Moravian-Silesian. In 2011 he conducted the first-ever tour of the Prague Philharmonia to South Korea, in 2012 he led the same ensemble on its premiere tour to China.
In cooperation with the Czech Philharmonic Orchestra he has recorded 3 CDs so far, which includes complete symphonic work by brittish composer Andrew Downes (Artesmon/Czech Philharmonic label), Planets by Gustav Holst or Symphony No. 2 by Arthur Honegger (Octavia Records, Japan). He also leads rehearsals of this orchestra on behalf of world famous maestros such as Sir John Eliot Gardiner, Valery Gergiev, Manfred Honeck, Jiří Bělohlávek. Together with the Czech Philharmonic Collegium, he recorded another two gramophone titles – the DVD „Transformations“ (published by Universal Music, announced as the disc of the year) and the CD of concertos for violin and viola (with Gabriela Demeterová, published by Supraphon). In January 2017 he will make concert debut by the New Japan Philharmonic in Tokio.
The Concerto for Piano and Orchestra in A minor Op. 54, is the one and only piano concerto that Robert Schumann created. Its genesis was fraught with complications. In 1841, the composer wrote the Fantasie in A minor,for piano and orchestra, which, however, did not arouse much interest on the part of publishers and music event organisers alike. Four years later, he decided to remake the piece into a piano concerto. The Fantasie became its first movement, followed by another two, Intermezzo and Allegro vivace. The Concerto was premiered on 1 January 1846, with Clara Schumann performing the solo part. The Gewandhausorchester Leipzig was conducted by Ferdinand Hiller, to whom Schumann dedicated the piece.
In comparison with the concertos of the time, Schumann’s stands out owing to its symphonic nature, which is audible at first listen. The first movement is characterised by abrupt changing of the tempo and alternating moods, right from the opening bar. The initial “incursion” of the orchestra, ensued by the cascades of chords on the piano, gives way to a sentimental melody delivered by the oboe, immediately repeated by the piano. This first theme is the movement’s main subject. Ample cadenzas are a typical trait of Schumann’s. The short middle movement takes the form of a lyrical dialogue between the piano and the orchestra. The main theme of the first movement reoccurs and forms the transition to the final movement. The energetic Allegro vivace, borne in a triumphant, joyous atmosphere, features a number of forcible experiments with rhythm.
Dvořák composed Symphony No. 6 in D major, Op. 60 spontaneously in the fall of 1880. It is the first work of Dvořák’s symphonic series to be published in print and as the first of all his symphonies it was performed abroad. The symphony was created during a short time span. Dvořák sketched it between 27 August and 20 September 1880 and finished the score soon afterwards between 27 September and 15 October. This took place in his “Slavic” period when during the previous two years 1878–1880 he composed three Slavonic Rhapsodies, the first series of his Slavonic Dances, Czech Suite and Violin Concerto in A minor.
Symphony No. 6 is an optimistic work with a warm and sunny atmosphere. Dvořák said that he tried to write a viable work which would please him as well. The countless reviews and analyzes of this composition are clearly dominated by the opinion that this is an essentially intrinsically Czech work of a healthy and earthy character, very pleasant and typical of Dvořák. It is undoubtedly also thanks to the fiery dance furiant, suggesting an affinity with Slavonic Dances. The Symphony in D major has a classical formal structure and its sections are well balanced. Its symphonic expression is enriched by a strong national accent. The sonata allegro of the first movement overflows with jubilant joy; Dvořák here primarily works with the main idea. In doing so he lavishly presents a number of other great musical ideas. Adagio of the second movement in the form of song is deeply meditative as well as lyrical. Scherzo of the third movement is a stylization of furiant with two vivid themes and, which has a gentle charm of a trio. The finale is a culmination of previous sections with dazzling joy and celebration of life.
Egmont, Overture Op. 84, is a part of a set of incidental music pieces composed for Johann Wolfgang von Goethe’s 1787 play of the same name. Ludwig van Beethoven, who admired the poet throughout his life and set a number of his texts to music, was commissioned the work from the Hoftheater in Vienna. Composed between October 1809 and June 1810, the incidental music for Egmont consists of nine parts, with the overture having been written as the last piece.
Goethe’s play deals with the life of a Dutch aristocrat, the Count of Egmont, one of the leaders of the Flemish uprising against the Spanish rule in the Netherlands, who was executed on 5 June 1568. Beethoven’s overture is a compact symphonic poem in the sonata form, with the subject of its musical narrative being Egmont’s heroism. Its atmosphere is akin to that of Symphony No. 5 in C minor, “Fate”. The introduction, in F minor, evoking the gloominess of the Spanish oppression, and the gravity of Egmont’s mission, is ensued by the depiction of Dutch determination and resolve to resist the occupiers, the hero’s tragic death (as Beethoven himself noted, he conceived it as a sudden pause), and the ultimate victory of the idea of freedom (a rejoicing fanfare in F major), one of the composer’s most significant sources of inspiration. Egmont received its world premiere on 15 June 1810, at the Hoftheater in Vienna.
Wed – Fri / 6:30 p.m. / Rudolfinum – Suk Hall or Western Lounge
Location is specified for each concert in the concert programme and navigation signs at the Rudolfinum.
Pre-concert talks are offered free of charge as a bonus before the evening concerts of the A and B subscription series. They are given by conductors, soloists and members of the Czech Philharmonic, as well as musicologists and music writers who take part in discussions or lectures which will prepare for the evening concert.
They are presented by Eva Hazdrová-Kopecká, Pavel Ryjáček or Petr Kadlec.
This website uses to provide services, personalize ads, and analyzing traffic cookies.