Czech Phil: The Spring Stars IV • Kirill Gerstein

The multifaceted pianist Kirill Gerstein has rapidly ascended into classical music’s highest ranks. His early training and experience in jazz has contributed an important element to his interpretive style. 

Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of boundary-crossing works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau. Mr. Gerstein was awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, received a 2002 Gilmore Young Artist Award, and a 2010 Avery Fisher Grant. 

In the 2018/2019 season Gerstein gives the world premiere performance of Thomas Adès’ new Piano Concerto with the Boston Symphony Orchestra conducted by the composer, with performances in Boston and in Carnegie Hall, New York. Elsewhere in this season, Gerstein appears with the London Symphony Orchestra and Sir Mark Elder. He performs in China with the Shanghai and Guangzhou Symphony Orchestras, with the Rotterdam Philharmonic, Orchestre Philharmonique de Radio France, NDR Elbphilharmonie Orchestra, Dresden Staatskapelle, Danish National Symphony Orchestra, Helsinki Philharmonic, Cleveland Orchestra, Cincinnati Symphony, and the Orquestra Sinfônica do Estado de São Paolo. He plays recitals in London, Stuttgart, Lisbon, Singapore, Melbourne and Copenhagen, as well as chamber performances with the Hagen Quartet, Veronika Eberle and Clemens Hagen in Lucerne, and with actor Bruno Ganz for recitals in Germany and Austria. 

In autumn 2018 Gerstein’s recording of Scriabin’s Prometheus: The Poem of Fire, with the Oslo Philharmonic and Vasily Petrenko was released on LAWO Classic’s. Future recording releases this season include Busoni’s Piano Concerto on myrios classics in spring 2019 and Tchaikovsky’s Piano Concerto Nos. 1–3 in summer 2019, part of Semyon Bychkov’s Tchaikovsky Project recorded for Decca with the Czech Philharmonic. 

Born in 1979 in Voronezh, in southwestern Russia, Mr. Gerstein studied piano at a special music school for gifted children and while studying classical music, taught himself to play jazz by listening to his parents’ extensive record collection. After coming to the attention of vibraphonist Gary Burton, who was performing at a music festival in the Soviet Union, Mr. Gerstein came to the United States at 14 to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. After completing his studies in three years and following his second summer at the Boston University program at Tanglewood, Mr. Gerstein turned his focus back to classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both Bachelors and Masters of Music degrees by the age of 20. He continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and Germany. 

A committed teacher and pedagogue, Gerstein taught at the Stuttgart Musik Hochschule from 2007–2017 and from autumn 2018 he teaches as part of Kronberg Academy’s newly announced Sir András Schiff Performance Programme for Young Artists.

In recognition of the 2024 Year of Czech Music – a major celebration of Czech music celebrated across the Czech Republic every 10 years since 1924 – Chief Conductor and Music Director Semyon Bychkov has put the music of Antonín Dvořák at the centre of his programmes with the Czech Philharmonic throughout the 2023–2024 season. In addition to conducting three programmes devoted to Dvořák in Prague, Bychkov and the Orchestra will tour the Dvořák programmes to South Korea, Japan, Spain, Austria, Germany, Belgium and the United States, as well as recording the last three symphonies for Pentatone. 

Semyon Bychkovʼs tenure at the Czech Philharmonic began in 2018 with concerts in Prague, London, New York, and Washington commemorating the 100th anniversary of Czechoslovak independence. Following the culmination of The Tchaikovsky Project, Bychkov and the Orchestra began their focus on Mahler. The first discs in a new Mahler cycle were released by Pentatone in 2022, with Symphony No. 5 chosen by The Sunday Times as its Best Classical Album.

Bychkovʼs repertoire spans four centuries. His highly anticipated performances are a unique combination of innate musicality and rigorous Russian pedagogy. In addition to guest engagements with the world’s major orchestras and opera houses, Bychkov holds honorary titles with the BBC Symphony Orchestra – with whom he appears annually at the BBC Proms – and the Royal Academy of Music, who recently awarded him an Honorary Doctorate. Bychkov was named “Conductor of the Year” by the International Opera Awards in 2015 and, by Musical America in 2022.

Bychkov began recording in 1986 and released discs with the Berlin Philharmonic, Bavarian Radio, Royal Concertgebouw, Philharmonia Orchestra and London Philharmonic for Philips. Subsequently a series of benchmark recordings with WDR Symphony Orchestra Cologne featured Brahms, Mahler, Rachmaninov, Shostakovich, Strauss, Verdi, Glanert and Höller. Bychkov’s 1993 recording of Tchaikovsky’s Eugene Onegin with the Orchestre de Paris continues to win awards, most recently the Gramophone Collection 2021; Wagner’s Lohengrin was BBC Music Magazine’s Record of the Year (2010); and Schmidt’s Symphony No. 2 with the Vienna Philharmonic was BBC Music Magazine’s Record of the Month (2018).

In common with the Czech Philharmonic, Bychkov has one foot firmly in the culture of the East and the other in the West. Born in St Petersburg in 1952, he studied at the Leningrad Conservatory with the legendary Ilya Musin. Denied his prize of conducting the Leningrad Philharmonic, Bychkov emigrated to the United States in 1975 and, has lived in Europe since the mid-1980’s. In 1989, the same year he was named Music Director of the Orchestre de Paris, Bychkov returned to the former Soviet Union as the St Petersburg Philharmonic’s Principal Guest Conductor. He was appointed Chief Conductor of the WDR Symphony Orchestra (1997) and Chief Conductor of Dresden Semperoper (1998).

Marek Eben was born in 1957 in Prague. He studied music drama at the Prague Conservatoire. After finishing school, he worked at the Vítězslav Nezval Theatre in Karlovy Vary, then at the Kladno Theatre, and from 1983 to 2002 he was an ensemble member at Prague’s Studio Ypsilon Theatre. Besides acting, he also involves himself with music. He is the exclusive songwriter for the band The Eben Brothers, which has released five albums (Malé písně do tmy, 1984; Tichá domácnost, 1995; Já na tom dělám, 2002; Chlebíčky, 2008; Čas holin, 2014), and he wrote the music for the films Bizon and Hele on letí and for the television series Poste restante. He has also composed music and written texts for about 20 plays (including Matěj Poctivý – Matthew the Honest, Vosková figura – The Wax Figure, Amerika, and Othello for Studio Ypsilon and The Winter’s Tale for the National Theatre). Since 1996, he has been the moderator of the Karlovy Vary International Film Festival.

He has worked extensively on television, serving as the moderator of various programmes such as the contest O poklad Anežky České (The Treasure of St Agnes of Bohemia), the TýTý Awards Presentation, Stardance, and the discussion programme Na plovárně (At the Swimming Pool), which won the Elsa Award in 2001, 2002, 2004, 2005, 2006, and 2007 for the best talk show. Marek Eben has also won this prize as a moderator in 2001, 2002, 2006, and 2007. He is also the two-time overall winner of the TýTý Awards.

Allegro affettuoso
Intermezzo: Andantino grazioso 
Allegro vivace

Piano Concerto in A minor, Op. 54 is the only piano concerto by Robert Schumann. It came into being in a rather complicated way. In 1841 Schumann composed Fantasy (Phantasie) in A minor for Piano and Orchestra, but publishers and concert agents did not show as much interest in it as the composer had hoped. Four years later (partly at the urging of his wife, piano virtuoso Clara Schumann), he decided to expand it into a piano concerto. The Fantasy became the first movement, to which Schumann added second and third movements – Intermezzo and Allegro vivace. The complete work was premiered on 1 January 1846 by Clara Schumann as a soloist and the Leipzig Gewandhaus Orchestra, conducted by Ferdinand Hiller, to whom Schumann dedicated the work.

In comparison to other piano concertos of the time, Schumann’s concerto is instantly recognized as having an orchestral character. He himself wrote about it in a letter to his wife: “I have already told you about my concerto: it is a cross between a symphony, a concerto, and a grand sonata. It is clear that I cannot write a concerto for the virtuoso; I must think of something else.” The piano part together with the orchestra forms a closely interconnected whole. Listeners and critics, who were accustomed to virtuoso pieces in which the orchestra usually played only an accompanying role, greatly appreciated the concerto. But there were also those like Franz Liszt, who described the work as “a piano concerto without a piano”.

From the very beginning, the first movement is characterized by sharp changes of tempos and moods. The orchestra storms in, and this is followed by descending cascades of piano chords contrasted with a mournful melody sung by oboes, immediately repeated by the piano. The opening theme is the main building material of the whole movement. The monumental cadenza was written by Schumann himself. The brief middle movement (Intermezzo: Andante grazioso) is a lyrical dialogue between the piano and orchestra. The soloist again presents the main theme of the first movement, which moves without pause into the final movement. The energetic Allegro vivace produces a triumphant and joyful atmosphere and is characterized by a number of impressive rhythmic experiments.

Andante sostenuto—Allegro vivo
Andantino marziale, quasi moderato
Scherzo. Allegro molto vivace
Finale. Moderato assai—Allegro vivo

The most prominent Russian Romantic composer, Pyotr Ilyich Tchaikovsky, studied law in St. Petersburg, but was always drawn to music. He worked as a lawyer in the civil service, but soon began to study with Anton Rubinstein at the St. Petersburg Conservatory. After graduating, Tchaikovsky moved to Moscow where he began to teach music at the Moscow Conservatory, headed by Rubinstein’s brother Nikolai. However, teaching did not make him happy, he was just eking out his living. From 1876 on, his patroness Nadezhda von Meck provided him with financial support, thanks to which he could devote himself fully to composition and performance of his works. At this time, he created his most famous compositions which brought him recognition in Russia as well as in Europe: the ballets Swan Lake (1876) and Sleeping Beauty (1889), the operas Eugene Onegin (1878) and The Queen of Spades (1890) and many other orchestral, chamber and vocal pieces. He repeatedly visited Prague (1888, 1892), where he befriended Antonín Dvořák. Tchaikovsky’s swan song is Symphony No. 6 “Pathétique”. He died a week after its premiere. The official cause of death was reported to be cholera, but there is much speculation that his death was suicide, allegedly committed in order to preclude the disclosure of Tchaikovsky’s homosexuality.

Tchaikovsky’s composition to be heard tonight is somewhat in the shadow of his other symphonies. Conventionally oriented program directors of symphony orchestras often prefer the last three of his symphonies (Nos. 4–6) over his Symphony No. 2 “Little Russian”. This does not mean, however, that this work is not worth the attention of the public. On the contrary, it is good that we have the opportunity to listen to it at the concert tonight!

Tchaikovsky started to work on Concerto for Piano and Orchestra No. 2 in G major, Op. 44 in October 1879 when he was visiting his sister’s family at their estate at Kamenka (Kamyanka) in what is today the Cherkassy Region of Ukraine. His brother-in-law, Lev Davydov, wanted Tchaikovsky to work undisturbed, and he had previously made available a separate house to him which he equipped with a piano. The composer loved the local environment and regularly came to visit.

The concerto’s first movement is in the traditional sonata form with two contrasting themes (the second musical idea appears after the first solo cadenza), but it has an unusually extensive development. Another special feature can be found in the second movement, Andante non troppo, where piano as the solo instrument is joined by violin and later also by cello. The orchestra, limited just about to the strings, plays only a minimal role in this movement. The brisk final movement has tested the technical competencies of many generations of soloists. Tchaikovsky dedicated this concert to Nikolai Rubinstein, his former superior at the Moscow Conservatory, who died in 1881 before he could give its premiere. The concerto was then performed for the first time in New York on 12 November 1881 by the English pianist Madeleine Schiller with the New York Philharmonic Orchestra.

Symphony No. 2 in C minor “Little Russian” also came into being in Kamenka. Tchaikovsky composed it in the summer months of 1872. In the 19^th century, the Ukrainian territory under the rule of the Russian Empire was called “Little Russia”. Tchaikovsky heard several folk songs in Ukraine which he noted down with interest, and subsequently used them in this symphony in all four movements. The inspiration by East Slavic folklore is obvious in the slow introduction of the first movement presented by horn and later bassoon; the movement continues in sonata form and the first movement ends with a recapitulation of the opening folk theme. The second movement is again framed by one musical idea. It begins in an untraditional way with rhythmic strokes of the tympani. Its whole subsequent course has the form of a festive march (reminiscent of Tchaikovsky’s opera Undine). Scherzo (third movement) takes the form of a trio dominated by wind instruments; is it followed by a majestic introduction of the fourth movement. After that, the music considerably accelerates and brings about a number of expressive contrasts. The music gradually increases in intensity, making the listener think that it is a fast-paced coda which would soon close the symphony. However, then comes the exposition of a short lyrical theme and it is clear that the real culmination is yet to come. Indeed, Tchaikovsky ends his symphony in his typical way – by a monumental conclusion in the orchestral tutti.