Czech Chamber Music Society • Evgeny Kissin

Jan Fišer is one of the most impressive young Czech violinists. He has been notably successful at international competitions and has collaborated with a number of leading orchestras and chamber music performers at home and abroad. Since 2004 he has been the concertmaster of the Prague Philharmonia, and since 2020 he has held the same position with the Czech Philharmonic. With the pianist Ivo Kahánek and the cellist Tomáš Jamník he belongs to the Dvořák Trio, which enjoys success on concert stages both in the Czech Republic and abroad. Jan Fišer also teaches—he is one of the mentors of the MenART Scholarship Academy, and he gives instruction regularly at music courses including the Ševčík Academy in Horažďovice and at the Music Academy in Telč. He is a graduate of the Prague Conservatoire, where he studied violin under Jaroslav Foltýn, and in 2003 he completed his studies at Carnegie Mellon University under Andrés J. Cárdenes. Thereafter he took part in masterclasses with Stephen B. Shipps, Pinchas Zukerman, Gil Shaham, and Joseph Silverstein. He plays a French violin from the early 19th century attributed to Francois-Louis Pique, which has been lent to him through the generosity of the Fidula Foundation.

Petra Brabcová is a graduate of Prague’s Jan Neruda Grammar School, of the Prague Conservatoire, and of Michigan State University in the USA, where she studied under Charles Avsharian. She completed her studies at Prague’s Academy of Performing Arts under Ivan Štraus. She is a laureate of several international competitions including Beethoven’s Hradec, the American String Teachers National Solo Competition, the Henri Marteau International Violin Competition, and Prague Spring 2010 (the Josef Suk Prize). She is also an experienced chamber music player. She plays in the Orbis Trio, which has won several international competitions and earned the 2010 Czech Chamber Music Society Award. She also plays in ensembles including the Prague Variations, the Baborák Ensemble, and the Prague Chamber Soloists. Besides appearing in chamber music and in orchestras, she also gives concerts as a soloist. From 2010 to 2014 she was a member of the Prague Philharmonia, and she is now the Czech Philharmonic’s principal second violinist.

Jiří Pinkas studied the violin and viola at the Prague Academy of Performing Arts. During his studies, he became a laureate of the Conservatory competition in Ostrava (1999) and participated in numerous international interpretation master classes. As a soloist he has performed with the Czech Philharmonic, Prague Radio Symphony Orchestra, Chamber Orchestra of Pardubice, Pilsen Philharmonic, Carlsbad Symphony Orchestra etc.

In 2001, he became the violist of the Bennewitz Quartet which counts among the best chamber ensembles on the international music scene. The quartet won the 1st prize at the International Chamber Music Competition in Osaka, Japan (2005) and the 1st prize at the String Quartet Competition Premio Paolo Borciani in Italy (2008). The Bennewitz Quartet is regularly invited to the prestigious world stages (Amsterdam Concertgebouw, Londonʼs Wigmore Hall, Rockefeller Center, New York, Tokyo Bunka Kaikan, Herkulessaal in Munich, Auditorio Nacional Madrid and others).

Václav Petr is one of the most prominent cellists of his generation. He was a semi-finalist of the international cello competition Grand Prix Emanuel Feuermann (Germany), the winner of the 70th Prague Spring competition (Czech Republic), and the overall winner of Talents for Europe. He began his studies with Mirek Škampa at the Jan Neruda Grammar School in Prague before moving on to study at the Music Academy of Performing Arts in Prague with Daniel Veis and graduating from Michal Kaňka’s studio. He developed his playing with Wolfgang Boettcher at Berlin’s Universität der Künste and took part in the European Music Academy in Bonn. In 2015, he completed the Carl Flesch Academy masterclass courses with a solo performance alongside the Baden-Baden Philharmonic. He started his solo career at just 12 years of age, and he has since appeared with such orchestras as the Czech Philharmonic, the Prague Radio Symphony Orchestra, and the Prague Philharmonia. Being only 24 years old when selected as the Czech Philharmonic’s cello concertmaster, he became one of the youngest musicians to hold that post in the orchestra’s history. Václav Petr plays the “Teschenmacher” cello (1757) from Giovanni Battista Guadagnini’s workshop, on loan from a private collection.

A musician of tremendous emotional power, depth, and expressiveness, Ivo Kahánek has gained a reputation as one of the most exciting artists of his generation. He is universally recognised as one of the foremost interpreters of Romantic piano music and is a particular specialist in Czech repertoire (awarded e.g. by Dispaison d’Or). He possesses a rare gift of creating an immediate and compelling emotional connection with his audiences. Kahánek came to public attention after winning the Prague Spring International Music Competition in 2004 and performing at the 2007 Proms Festival with the BBC Symphony Orchestra under Jiří Bělohlávek. He has collaborated with the most prestigious orchestras, including the Berlin Philharmonic (Sir Simon Rattle), the Mahler Chamber Orchestra, the Vienna Symphony Orchestra, the Czech Philharmonic, and many others. He is a graduate of the Janáček Conservatoire in Ostrava, the Academy of Performing Arts in Prague, and the Guildhall School of Music and Drama in London.

Evgeny Kissin’s musicality, the depth and poetry of his interpretations, and his extraordinary virtuosity have won him respect and admiration, which he deserves as one of the most talented classical pianists of his generation. He is in demand internationally, and he has appeared as a soloist with the world’s top orchestras under the baton of such famed conductors as Claudio Abbado, Vladimir Ashkenazy, Daniel Barenboim, James Levine, Lorin Maazel, and Seiji Ozawa.

Evgeny Kissin was born to a Russian Jewish family in Moscow, and he began playing piano and improvising at the age of two. At six years of age, he began studying at a Moscow school of music for talented children named after its founders, the Gnessin sisters. It was there that Anna Pavlovna Kantor became his only teacher. At age ten he appeared with an orchestra for the first time, and a year later he gave a solo recital. As a 12-year-old boy, he won international fame when a recording of his appearance with the Moscow State Philharmonic was issued on LP. That recording’s tremendous success led to the release of five more live recordings of Kissin’s performances over the next two years. Evgeny Kissin first appeared abroad in 1985, and over the following years he gave many tours and concerts all around the world. December 1988 saw the worldwide broadcast of Kissin’s appearance at the Berlin Philharmonic’s New Year’s concert under the baton of Herbert von Karajan.

Evgeny Kissin’s career has earned him many musical honours around the world. In 1991, for example, he was a special guest at the Grammy Awards Ceremony. Three years later, he became the youngest person honoured as the Instrumentalist of the Year by the magazine Musical America. He has received an Honorary Doctorate of Music from the Manhattan School of Music, the Shostakovich Award (one of Russia’s highest honours for musicians), an honorary membership of London’s Royal Academy of Music, and most recently the title of Doctor of Letters honoris causa from the University of Hong Kong.

He is a citizen of the United Kingdom and of Israel as well as of Russia. He has been living in Prague since 2017. His is a vocal critic of Russia’s military invasion of Ukraine.

“I recently composed a Trio for violin, cello, and piano about the current war in Ukraine; the first movement depicts the Russian invasion, the bombings, and the Ukrainian people’s sufferings; the second movement depicts the tragedy of Ukraine and its people. In it, I quoted two Ukrainian folk songs: “Ой, выйду ж я на могилу“ (“I’ll go to the grave”) and “Горе ж менi, горе” (“Woe is me, woe”). The Finale depicts the ultimate Ukrainian victory in which I believe. The first half of the third theme of the Finale is written in the Ukrainian style, the second half — in the Jewish style, and this symbolizes three things to me: the President of the Ukraine Volodimir Zelensky is a Jew. There are Israeli volunteers fighting in the Ukrainian army. I am a Jew who was born and grew up in Russia, and since my people have always been the greatest victims of the Russian xenophobia, I have always felt a strong sense of solidarity with all its other victims. Now the Ukrainians are the main victims of Russian xenophobia and imperialism, so I believe that we Jews should be their main allies.”

The Piano Quintet in A major, Op. 81, is the more mature of Dvořák’s two compositions for this combination of instruments. Written between August and October 1887, the work reveals its creator’s mastery of instrumentation and of handling themes. Two of the movements have subtitles that suggest the presence of Slavic musical motifs, but the melancholic Dumka and the leaping Furiant are by no means the quintet’s only striking features. Dvořák skilfully combines Slavic elements with passages that make a cosmopolitan, generally European impression in the most representative sense. The quintet also radiates the serenity that Dvořák always felt at his summer residence in Vysoká. The quintet was premiered at the Rudolfinum on 6 January 1888 with the young Karel Kovařovic seated at the piano. It got a very warm reception both from critics and, for example, from Pyotr Ilyich Tchaikovsky, who heard it in Prague about a month after the premiere at one of the concerts held there in his honour. The quintet was also immediately heard abroad in such cities as Amsterdam, Frankfurt, Hamburg, and London, and it helped bring Dvořák worldwide fame.