Cello Concerto in B Minor, Op. 104
Pyotr Ilyich Tchaikovsky
Symphony No. 4 in F Minor, Op. 36
Gautier Capuçon is a true 21st century ambassador for the cello. Performing each season with many of the worldʼs foremost conductors and instrumentalists, he is also founder and leader of the Classe dʼExcellence de Violoncelle at the Fondation Louis Vuitton in Paris based in the stunning new Auditorium designed by Frank Gehry.
During 2017/2018 Capuçon will appear as soloist in a number of orchestral tours across Europe, the US and in Asia. In Europe he will tour with Orchestre de Chambre de Paris, Wiener Symphoniker (Philippe Jordan), and the Gustav Mahler Jugendorchester. In the US he will tour with the Royal Philharmonic Orchestra (Charles Dutoit) and the National Center for Performing Arts; and in Asia with hr-Sinfonieorchester (Andres Orozco-Estrada) and as part of the Verbier Festival with Gabor Takacz. Other concerto highlights include return performances with Gewandhausorchester Leipzig (Herbert Blomstedt), Wiener Philharmoniker (Semyon Bychkov), Orchestre de Paris (Yu Long), San Francisco Symphony Orchestra (Stephen Deneve), City of Birmingham Symphony Orchestra (Mirga Graþinytë-Tyla) and London Philharmonia (Paavo Järvi).
A regular recital and chamber musician, Capuçon appears annually in the major halls and festivals worldwide. Highlights this season include a return to Carnegie Hall (with Daniil Trifonov), an extensive international recital tour with duo partner Jérôme Ducros, and performances at Verbier Festival with: Lisa Batiashvili, Christoph Eschenbach, Janine Jansen, Leonidas Kavakos, Yuja Wang and Tabea Zimmermann. Other artists with whom Capuçon regularly performs include Martha Argerich, Daniel Barenboim, Frank Braley, Renaud Capuçon, Katia and Marielle Labèque, Jean-Yves Thibaudet, and the Artemis and Ébène quartets.
Gautier Capuçon collaborates with contemporary composers including, amongst others, Lera Auerbach, Karol Beffa, Esteban Benzecry, Nicola Campogrande, Qigang Chen, Jerome Ducros, Henry Dutilleux, Thierry Escaich, Philippe Manoury, Bruno Mantovani, Krzysztof Penderecki, Wolfgang Rihm, and Jörg Widmann.
Recording exclusively for Erato (Warner Classics), Capuçon and has won multiple ECHO Klassik awards and holds an extensive discography. In 2016/2017 he released Beethoven Sonatas with Frank Braley to critical acclaim. Other recent recordings include Shostakovichʼs Cello Concertos with the Mariinsky Orchestra and Valery Gergiev; and Schubertʼs String Quintet with Quatuor Ébène. Prior to that he won plaudits for a recital disc of music by Schubert, Schumann, Debussy, Britten and Carter with Frank Braley, and Saint-Saënsʼs First Cello Concerto and La Muse et le Poète with the Orchestre philharmonique de Radio France and Lionel Bringuier. He has also recorded chamber music with Martha Argerich, Nicholas Angelich, Renaud Capuçon and Gabriela Montero; and in 2013 Deutsche Grammophon released a DVD featuring Capuçon as soloist with the Berliner Philharmoniker and Gustavo Dudamel in a live performance of Haydnʼs Cello Concerto No. 1.
Born in Chambéry in 1981, Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of various first prizes in many leading international competitions, including the International André Navarra Prize, Capuçon was named “New Talent of the Yearˮ by Victoires de la Musique in 2001.
Newly appointed as Music Director and Chief Conductor of the Czech Philharmonic, Semyon Bychkov will assume the title at the beginning of the 2018/19 season. Born in Leningrad in 1952, Bychkov emigrated to the United States in 1975 and has been based in Europe since the mid-1980’s. In common with the Orchestra, Bychkov has one foot firmly in the cultures both of the East and the West.
Conducting the Czech Philharmonic for the opening of the 2017 Smetana Litomyšl Festival, Hospodářské noviny wrote of the performance of Tchaikovsky’s Francesca da Rimini: “the Czech Philharmonic is currently on excellent form and trusts Semyon Bychkov. And, being battle-hardened from working around the world with the best orchestras on the planet, he gives the Philharmonic players the room to develop their musical potential. The result is a unique musical creation.”
Following his early concerts with the Czech Philharmonic in 2013, Bychkov and the Orchestra devised The Tchaikovsky Project, a series of concerts, residencies and studio recordings which allowed them the luxury of exploring Tchaikovsky’s music together, both in Prague’s Rudolfinum and abroad. The first fruit of The Tchaikovsky Project – a recording of Symphony No. 6 coupled with the Romeo & Juliet Fantasy-Overture – was released by Decca in October 2016, and was followed in August 2017 by the release of the Manfred Symphony. The Tchaikovsky Project culminates in 2019 with residencies in Vienna and Paris, and Decca’s release of all Tchaikovsky’s symphonies, the three piano concertos, Romeo & Juliet, Serenade for Strings and Francesca da Rimini.
Semyon Bychkov won the Rachmaninov Conducting Competition when he was 20 years old. Two years later, having been denied his prize of conducting the Leningrad Philharmonic Orchestra, he left the former Soviet Union where, aged five, he was singled out for an extraordinarily privileged education in music. Initially studying piano, Bychkov was later selected to study at the Glinka Choir School where he received his first conducting lesson aged 13. Four years later he was accepted at the Leningrad Conservatory as a student of 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 began in France with 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.
Bychkov’s repertoire is wide-ranging both in the concert hall and in the opera house. He conducts in all the major houses including La Scala, Opéra national de Paris, Dresden Semperoper, Wiener Staatsoper, New York’s Metropolitan Opera, the Royal Opera House, Covent Garden and Teatro Real. Madrid. While Principal Guest Conductor of Maggio Musicale Fiorentino, his productions of Janáček’s Jenufa, Schubert’s Fierrabras, Puccini’s La bohème, Shostakovich’s Lady Macbeth of Mtsensk and Mussorgsky’s Boris Godunov were awarded the prestigious Premio Abbiati. He recently conducted Wagner’s Parsifal at the Wiener Staatsoper, and will return in 2018 with the same opera. Other new productions in Vienna include Strauss’ Der Rosenkavalier and Daphne, Wagner’s Lohengrin and Mussorgsky’s Khovanshchina; while in London, he made his debut with a new production of Strauss’ Elektra, and subsequently conducted new productions of Mozart’s Così fan tutte, Strauss’ Die Frau ohne Schatten and Wagner’s Tannhäuser.
On the concert platform, the combination of innate musicality and rigorous Russian pedagogy has ensured that Bychkov’s performances are highly anticipated. In the UK, in addition to regular performances with the London Symphony Orchestra, his honorary titles at the Royal Academy of Music and the BBC Symphony Orchestra - with whom he appears annually at the BBC Proms – reflect the warmth of the relationships. In Europe, he tours frequently with the Royal Concertgebouw Orchestra, the Vienna Philharmonic and Munich Philharmonic, as well as being an annual guest of the Berlin Philharmonic, the Leipzig Gewandhaus, the Orchestre National de France and the Accademia Nazionale di Santa Cecilia; in the US, he can be heard with the New York Philharmonic, Chicago Symphony, Los Angeles Symphony, Philadelphia and Cleveland Orchestras.
Recognised for his interpretations of the core repertoire, Bychkov has worked closely with many extraordinary contemporary composers including Luciano Berio, Henri Dutilleux and Maurizio Kagel. In recent seasons he has worked closely with Renée Staar, Thomas Larcher, Richard Dubignon, Detlev Glanert and Julian Anderson, conducting premières of their works with the Vienna Philharmonic Orchestra, New York Philharmonic, Royal Concertgebouw and BBC Symphony Orchestra at the BBC Proms.
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. Subsequently a series of benchmark recordings - the result of his 13-year collaboration (1997-2010) with WDR Symphony Orchestra Cologne – include a complete cycle of Brahms Symphonies, and works by Strauss (Elektra, Daphne, Ein Heldenleben, Metamorphosen, Alpensinfonie, Till Eulenspiegel), Mahler (Symphony No. 3, Das Lied von der Erde), Shostakovich (Symphony Nos. 4, 7, 8, 10, 11), Rachmaninov (The Bells, Symphonic Dances, Symphony No. 2), Verdi (Requiem), Detlev Glanert and York Höller. His recording of Wagner’s Lohengrin was voted BBC Music Magazine’s Record of the Year in 2010; and his recent recording of Schmidt’s Symphony No. 2 with the Vienna Philharmonic was selected as BBC Music Magazine’s Record of the Month.
Semyon Bychkov was named 2015’s Conductor of the Year by the International Opera Awards.
In 1891, Antonín Dvořák was offered the directorship of the New York Conservatory. After some hesitation, the composer accepted this challenge – which was interesting in both artistic and financial terms – and the next year sailed with his family across the Atlantic. Beyond leading the institution, his duties included teaching composition, and he also had the ambition of laying down the ideological foundations of American art music. Dvořák spent more than two-and-a-half years in America and wrote important instrumental works there. These include, in addition to his String Quartet No. 12 in F Major “American”, his most often played orchestral compositions, namely, Symphony No. 9 in E Minor “From the New World” and the work that opens this evening, Cello Concerto in B Minor.
Dvořák completed his only concert work for the cello whilst still in New York, but reworked its conclusion on returning to his homeland. Although the work adopts the traditional three-movement concerto form, it is conceived rather symphonically. It starts with an extensive orchestral introduction, presenting the two contrasting themes of the first movement, which is in loose sonata form. The cello then resolutely introduces a new exposition of the first theme, which the soloist continues to work with, until the second theme is outlined. The sonata development is very brief and the recapitulation, full of virtuoso runs for the solo instrument, has also been treated very freely by the composer. The second movement takes a symmetric ternary form with a dramatic middle section and lyrical outer sections. Here the writing for the cello is characterised by semitone “sighs” and numerous double-stops. The final movement is a rondo and has been read as a joyful harbinger of the composer’s return to the motherland. Immediately upon its premiere, Dvořák’s Cello Concerto gained significant popularity and to this day continues to be a favourite in the repertoires of the world’s greatest cellists.
Symphony No. 4 in F minor Op. 36 is the first among Pyotr Ilyich Tchaikovsky’s (1840–1893) great symphonies. It was composed in 1877–1878, during the difficult period of the composer’s brief and unsuccessful marriage, and is dedicated “to my best friend”, Tchaikovsky’s patron Nadezhda Filaretovna von Meck. The premiere took place in Moscow on 10/22 February 1878 under the baton of Nikolay Rubinstein.
The first movement is a meditation on fate. The growing feeling of depression and hopelessness is replaced by an arabesque for clarinet and a lyrical melody in strings: “Is it not better to escape from reality and to take refuge in dreams? O joy!” But no – it was only a dream. Fate is unavoidable. In the second movement the solo oboe induces a melancholy feeling which comes in the evening when a book falls from one’s hand, and we indulge in dreaming and melancholy, feeling sorry that so much is now a thing of the past. The third movement, Scherzo in a whimsical F major, “expresses no definite feeling”. The pizzicato of the strings, complemented in the trio by woodwinds and brass, presents the slightly ironic atmosphere of a sneering arabesque. The concluding Finale seems joyful, developing the melody of the Russian folk song In the Field Stood a Birch Tree, but in the middle section (Andante) the rejoicing is threatened by the reappearing motif of fate. Nevertheless, hope and joy – if not one’s own, then at least that of others – triumph in the end.
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.
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