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Czech Philharmonic • Tokyo
The Czech Philharmonic first ventured to Asia on a legendary tour in 1959. Since then, it has returned as often as every two years whenever possible. In fact, the orchestra has already performed 373 concerts in Japan. It discovered South Korea in the 1990s and made its debut in Taiwan in 2019. This time, the programme will feature works by Ravel, Shostakovich, Tchaikovsky, Smetana, and Dvořák, led by Chief Conductor Semyon Bychkov.
Programme
Bedřich Smetana
Vltava, from the cycle of symphonic poems My Country
Maurice Ravel
Piano Concerto in G major
Pyotr Ilyich Tchaikovsky
Symphony No. 5 in E minor, Op. 64
Performers
Seong-Jin Cho piano
Semyon Bychkov conductor
Czech Philharmonic

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Performers
Seong-Jin Cho piano
With an innate musicality and overwhelming talent, Seong-Jin Cho has established himself worldwide as one of the leading pianists of his generation and most distinctive artists on the current music scene. His thoughtful and poetic, assertive and tender, virtuosic and colourful playing can combine panache with purity and is driven by an impressive natural sense of balance.
Seong-Jin Cho was brought to the world’s attention in 2015 when he won First Prize at the Chopin International Competition in Warsaw, and his career has rapidly ascended since. In January 2016, he signed an exclusive contract with Deutsche Grammophon. An artist high in demand, Cho works with the world's most prestigious orchestras including Berliner Philharmoniker, Wiener Philharmoniker, London Symphony Orchestra, Orchestre de Paris, New York Philharmonic and The Philadelphia Orchestra. Conductors he regularly collaborates with include Myung-Whun Chung, Gustavo Dudamel, Yannick Nézet-Séguin, Andris Nelsons, Gianandrea Noseda, Sir Simon Rattle, Santtu Matias Rouvali and Esa-Pekka Salonen.
An active recitalist very much in demand, Seong-Jin Cho performs in many of the world’s most prestigious concert halls. During the coming season he is engaged to perform solo recitals at the likes of Carnegie Hall, Boston Celebrity Series, Walt Disney Hall, Alte Oper Frankfurt, Liederhalle Stuttgart, at Laeiszhalle Hamburg, Berliner Philharmonie, Musikverein Wien and he debuts in recital at the Barbican London.
Seong-Jin Cho’s recordings have garnered impressive critical acclaim worldwide. The most recent one is of Chopin’s Piano Concerto No. 2 and Scherzi with the London Symphony Orchestra and Gianandrea Noseda, having previously recorded Chopin’s Piano Concerto No. 1 as well as the Four Ballades with the same orchestra and conductor. His latest solo album titled The Wanderer was released in May 2020.
Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at the age of six and gave his first public recital aged 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011, he won Third Prize at the International Tchaikovsky Competition in Moscow at the age of 17. From 2012–2015 he studied with Michel Béroff at the Conservatoire National Supérieur de Musique de Paris. Seong-Jin Cho is now based in Berlin.
Semyon Bychkov conductor

In addition to conducting at Prague’s Rudolfinum, Semyon Bychkov and the Czech Philharmonic in the 2023/2024 season, took the all Dvořák programmes to Korea and across Japan with three concerts at Tokyo’s famed Suntory Hall. In spring, an extensive European tour took the programmes to Spain, Austria, Germany, Belgium, and France and, at the end of year 2024, the Year of Czech Music culminated with three concerts at Carnegie Hall in New York.
Among the significant joint achievements of Semyon Bychkov and the Czech Philharmonic is the release of a 7-CD box set devoted to Tchaikovsky’s symphonic repertoire and a series of international residencies. In 2024, Semjon Byčkov with the Czech Philharmonic concentrated on recording Czech music – a CD was released with Bedřich Smetanaʼs My Homeland and Antonín Dvořákʼs last three symphonies and ouvertures.
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 awarded him an Honorary Doctorate in July 2022. 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).
Semyon 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).
Compositions
Bedřich Smetana
Vltava, from the cycle of symphonic poems My Country
Maurice Ravel
Piano Concerto in G major
Maurice Ravel did not leave behind a large musical legacy. Some biographers claim this was because of the composer’s other activities—he was also working as a concert pianist, a conductor, and a teacher. Others say it was his meticulousness and the exacting standards he set for himself. He wrote a number of individual compositions and cycles of pieces for his own instrument, the piano, including music for solo piano, for piano four-hands, and for two pianos. He also wrote two piano concertos, both during his late creative period, composing them simultaneously between 1929 and 1931. The Piano Concerto in D major for the left hand was written on commission for the one-handed pianist Paul Wittgenstein (1887–1961), who had also asked other composers of his day to write works for his repertoire.
In his Piano Concerto in G major, Ravel employed a variety of stylistic resources ranging from Spanish folk elements to the jazz influences of his day. He conceived the orchestral accompaniment in an original manner, giving various instruments room to play solo passages. The two outer movements contrast effectively with the melancholy central Adagio. The first movement in sonata form surprisingly repeats material from the development section after the recapitulation and cadenza. The slow movement opens with a long piano solo, with wind instruments taking up the theme one after another. The theme itself has been compared to that of the slow movement of Mozart’s Clarinet Quintet. The winds also play a major role in the orchestration of the rondo finale.
Ravel expected that, as with other works he had written, he would himself be the concerto’s first performer: “It was an interesting experience to work on both concertos at the same time. The one I will be playing myself is a concerto in the true sense of the word. What I mean is that it is written in the spirit of Mozart and Saint-Saëns. In my opinion, the music of a solo concerto has to be light and brilliant, and it should not strive for depth or for dramatic effects”, he wrote. However, problems with Ravel’s health prevented him from playing the piano part. The concerto was premiered on 14 January 1932 with Marguerite Long as the soloist and with Ravel leading the orchestra. The two artists then embarked on a four-month tour, during which they also played the new concerto on 18 February 1932 at a philharmonic concert of the New German Theatre in Prague: “A delicately crafted, polished composition full of spirit, taste, and precision, and a work of art clear as crystal, elegant, and lively”, wrote a Prague critic. “The piano part allows for both mechanistic playing and Lisztian virtuosity, though musicality is required above all in the difficult harmonic passages.” The audience even insisted that the final movement be repeated.
Pyotr Ilyich Tchaikovsky
Symphony No. 5 in E minor, Op. 64
Pyotr Ilyich Tchaikovsky’s brother Modest wrote that in the course of 1888, the composer’s “boldest dreams of fame were realised”. He had attained prosperity and universal esteem such as few composers enjoy in their lifetimes. “In his distrustfulness and modesty, he never stops being amazed and delighted that both abroad and in Russia, he receives more recognition than he could have expected. [...] He makes the impression of worldly happiness, and yet he his unhappier than ever before.” Tchaikovsky tried to escape his soul’s inner turmoil by busying himself with conducting engagements that were taking him from city to city and from one country to the next. “The thrill a composer feels when conducting an excellent orchestra playing his music with love and devotion was a new joy for me”, the composer confided. Prague was one of the cities where he received a real ovation: “From the first moment of my arrival, there were countless celebrations, visits, rehearsals, sightseeing etc. They were welcoming me as if I were a representative not of Russian music, but of all of Russia.” Tchaikovsky spent that summer working on his Fifth Symphony. Self-doubt never left him, however. “I want to work diligently to prove to myself and others that I have not yet completely written myself out. Doubts often come to me, and I wonder: is it not time for me to quit? Have I not yet exhausted my imagination?”, he wrote to his patroness Nadezhda von Meck.
There is no doubt that Tchaikovsky’s last three symphonies are works with programmatic subtexts, although there is no specific “plot” to speak of. The Symphony No. 5 in E minor, Op. 64, is built on the principle employed by Hector Berlioz in his pioneering Symphonie fantastique. Berlioz lets a single musical idea (idée fixe) run through the entire composition in various transformations, symbolising the composer’s beloved, his future wife Harriet Smithson. At the same time that Tchaikovsky was writing his Fifth Symphony, César Franck employed this same principle in his only symphonic work, the Symphony in D minor, likewise without assigning any concrete meaning to the unifying theme. The clarinet presents the central idea of Tchaikovsky’s penultimate symphony, a gloomy “fate” motif, in the introduction to the first movement. The composer merely hinted at the symphony’s programmatic content. About the first movement, he wrote: “Introduction – complete submission to fate. Allegro – dissatisfaction, doubts, complaints, reproaches”. In the second movement, fate yields to brighter tones, but it is not defeated, and its ominous presence makes itself felt even in the third movement, a light-hearted waltz. The fourth movement again opens with the “fate” motif, this time more distinctively structured, evoking a ceremonial atmosphere. This leads to conciliation expressed by the music of a majestic march, and in its ponderous strides, the burden of fate becomes an inherent part of existence. The struggle is not over, however; it leads to a new surge of energy as the symphony concludes at a fast tempo.
Tchaikovsky conducted the premiere of his Symphony No. 5 on 17 November 1888 in Saint Petersburg. It was a familiar scene for the composer: the audience responded with thunderous applause, while the critics remained divided, some calling the work a routine composition calculated for effect, while others hailed it as one of the most accomplished works of its era.