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| Nemanja Radulović (Photo by Lucas Rotter / DG) |
There are many reasons to love violinist Nemanja Radulović who, in only a few years, has taken the world of classical music by storm.
His earnest playing and dense sound, his ability to extract the unique beauty of every tune, as well as his daring and virtuose playing that approaches the limits of what's possible are cases in point. He also has a phenomenal stage presence that can be likened to that of a rock star. With his bold image, he is a welcome and cool role model for many young people who like classical music.
In Gothenburg Concert Hall, we experience him in Aram Khachaturian's beautiful and dramatic violin Concerto. Music that crackles with strong sound hues in the elegant orchestral movement spiced with a dose of oriental mysticism. Also, Sibelius' dense and dramatically striking fourth symphony. All led by Santtu-Matias Rouvali, chief conductor of the Gothenburg Symphony Orchestra.
Saturday, November 23 (03:00 PM CET)
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Live on Livestream
Aram Khachaturian (1903-1978)
♪ Suite from Masquerade (1944)
i. Waltz
ii. Nocturne
iii. Mazurka
iv. Romance
v. Galop
♪ Violin concerto in D minor (1940) *
i. Allegro con fermezza
ii. Andante sostenuto
iii. Allegro vivace
Jean Sibelius (1865-1957)
♪ Symphony No.4 in A minor, Op.63 (1910-1911)
i. Tempo molto moderato, quasi adagio
ii. Allegro molto vivace
iii. Il tempo largo
iv. Allegro
Nemanja Radulović, violin *
Gothenburg Symphony Orchestra
Conductor: Santtu-Matias Rouvali
Live from Gothenburg Concert Hall
(HD 1080p)
Live on Livestream
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| Nemanja Radulović (Photo by Lucas Rotter / DG) |
Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Serbian-French violinist Nemanja Radulović has taken the classical music world by storm with his thrilling virtuosity, depth of expression, and adventurous programming, both in the recording studio and on the concert stage. An exclusive Deutsche Grammophon artist, his most recent album, Baïka, features his evocative interpretations of Khachaturian's Violin Concerto as well as Rimsky-Korsakov's Scheherazade, arranged for solo violin and chamber orchestra.
Fresh off a hotly-anticipated, "magical" (Barry Creasy, musicOMH) BBC Proms debut featuring the Bournemouth Symphony Orchestra, Kirill Karabits, and a Barber Violin Concerto whose "lyric delicacy and last-movement super-virtuosity were caught to near perfection" (The Times), Radulović's recent and forthcoming highlights include an extensive European tour with the Russian State Academic Symphony and Andrey Boreyko; debut engagements with the Gothenburg Symphony, Philharmonia Orchestra, Sydney Symphony, MDR Leipzig Radio Symphony, Dusseldorf Symphony, RTE National Symphony Dublin, Orquesta Sinfonica de Valencia, and Orchestre Philharmonique de Strasbourg; the season opening of the Jeunesse Musicale series at the Vienna Konzerthaus; a play/direct performance of the Beethoven Violin Concerto with the Munich Chamber Orchestra (resulting in an immediate re-invitation and on-going relationship with the ensemble); and a special collaboration with clarinettist Andreas Ottensamer, accordionist Ksenija Sidorova, and pianist Laure Favre-Kahn, performing to audiences at festivals across Germany, Switzerland and France.
An artist who seeks to broaden the boundaries of classical music, Radulović champions the power of music to bring people together with his unique energy and candour. He has amassed a legion of loyal fans around the world who have enjoyed his performances with many of the world's leading orchestras, including the Munich Philharmonic, Deutsches Symphonie-Orchester Berlin, Staatskapelle Dresden, Royal Liverpool Philharmonic, Tokyo Symphony, Yomiuri Nippon Symphony in Tokyo, Orchestre Symphonique de Montréal, Orquesta Nacional de España, Netherlands Radio Philharmonic, Salzburg Camerata, NDR Radiophilharmonie in Hanover, WDR Sinfonieorchester in Cologne, Orchestre Philharmonique de Radio France, Belgian National Orchestra, Orchestre National de Lille, Orchestra Sinfonica Nazionale della RAI in Turin, Orchestra della Toscana, Tampere Philharmonic, Gävle Symphony, Royal Philharmonic Orchestra, Copenhagen Phil, Geneva Camerata, Queensland Symphony, Macao Orchestra, Malaysian Philharmonic, Cadaqués Orchestra, and the Bilbao Orkestra Sinfonikoa.
Radulović has an equal passion for the intimacy of chamber music, and is an increasingly active recitalist on the international circuit. He has performed at such notable venues as New York's Carnegie Hall, the Amsterdam Concertgebouw, Berlin Philharmonie, both the Salle Pleyel and the Théâtre des Champs-Élysées in Paris, the Athens Megaron, Tokyo's Suntory Hall, Teatro Colón in Buenos Aires, and the Melbourne Recital Centre in Australia. His many recital partners include Marielle Nordmann, Laure Favre-Kahn, and Susan Manoff, the latter with whom he has also recorded a disc of Beethoven Sonatas released on the Decca/Universal Music label.
Radulović also regularly undertakes a play/direct role with his infectious, high-energy ensemble The Devil's Trills – noted for their "immense purity, artistic force, passion, intimacy, and exquisite dynamic choices, leaving the audience in complete astonishment" (Johannes Seifert, Augsburger Allgemeine) – and his chamber orchestra, Double Sens, which was recently celebrated for their recordings of Bach and Rimsky-Korsakov, as well as The 5 Seasons, a piece that combines Vivaldi's Four Seasons with a new composition, Spring in Japan, by Aleksandar Sedlar and dedicated to the Japanese tsunami victims in 2011. Their other recent recordings include Paganini Fantasy (2013), Journey East (2014), BACH (2016), Tchaikovsky (2017), and most recently Baïka (2018).
Radulović's recognition for his work in classical music includes International Revelation of the Year by the Victoires de la musique classique in 2005, an Honorary Doctorate from the University of Arts in Niš, Serbia, and an ELLE Style Award for Musician of the Year in 2015. He is the winner of several international violin competitions, such as Joseph Joachim in Hanover, George Enescu in Bucharest, and Stradivarius in Cremona.
Born in Serbia in 1985, Nemanja Radulović studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, the Stauffer Academy in Cremona with Salvatore Accardo, and the world-renowned Conservatoire de Paris with Patrice Fontanarosa.
Source: imgartists.com
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| Santtu-Matias Rouvali (Photo by Toni Repo) |
Aram Khachaturian: Suite from Masquerade
Masquerade was written in 1941 by Aram Khachaturian as incidental music for a production of the play of the same name by Russian poet and playwright Mikhail Lermontov. It premiered on 21 June 1941 in the Vakhtangov Theatre in Moscow. The music is better known in the form of a five-movement suite.
Khachaturian was asked to write music for a production of Masquerade being produced by the director Ruben Simonov. The famous waltz theme in particular gave Khachaturian much trouble in its creation: moved by the words of the play's heroine, Nina – "How beautiful the new waltz is! ... something between sorrow and joy gripped my heart" – the composer struggled to "find a theme that I considered beautiful and new". His former teacher, Nikolai Myaskovsky, attempted to help Khachaturian by giving him a collection of romances and waltzes from Lermontov's time; though these did not give immediate inspiration, Khachaturian admitted that "had it not been for the strenuous search" for the appropriate style and melodic inspiration, he would not have discovered the second theme of his waltz which acted "like a magic link, allowing me to pull out the whole chain. The rest of the waltz came to me easily, with no trouble at all". Khachaturian dedicated the waltz to the actress who played Nina, Alla Kazanskaya.
Masquerade was the last production staged by the theatre before the invasion of the USSR by Germany, and the production run was cut short.
Later, in 1944, Khachaturian extracted five movements to make a symphonic suite.
Source: en.wikipedia.org
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Aram Khachaturian: Violin concerto in D minor
The particular élan that characterizes Aram Khachaturian's concerti has no doubt contributed to their continued popularity, and indeed, the Violin Concerto takes a place among the staples of the twentieth century violin repertoire. The concerto bears the unmistakable stamp of its composer in its characteristic rhythmic drive and rich, folk-infused melodies. The first movement begins with a fierce, energetic figure, played in unison, that eventually evolves into the rustically lyrical second subject. The intoxicating Andante sostenuto second movement, redolent of the undulating, gradually unfolding style of ashugs (Armenian folk musicians), has a free-flowing, semi-improvisatory feel. Based largely on material from the first movement's secondary theme, the highly folk-influenced finale takes the form of a vigorous Armenian country dance in which the solo violin figures prominently with unrelenting, fiery virtuosity.
Khachaturian wrote the Violin Concerto for David Oistrakh, the dedicatee of so many mid-century Russian violin concerti. Oistrakh was the soloist at the work's premiere on November 16, 1940.
Source: Graham Olson (allmusic.com)
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Jean Sibelius: Symphony No.4 in A minor, Op.63
Jean Sibelius' Symphony No.4 is a product of a fearsome mid-life crisis. In 1908, Sibelius went through the trauma of an operation to remove a tumour from his throat. There followed an agonised two-year wait to see if the operation had been successful, during which Sibelius had to give up two important emotional crutches: alcohol and tobacco. The withdrawal symptoms were terrible, and Sibelius' diaries connect his struggles with the bleak, often anguished tone of this Symphony. Yet the Fourth Symphony also stands as a reminder of the old saying that in crisis there can be opportunity. Struggling to give form to his feelings – or as he put it in his diaries, to get them "into some kind of perspective" – Sibelius enriched his musical language to an unprecedented level. The formal compression begun in Symphony No.3 is now taken to such extremes that transitions are sometimes dispensed with altogether, while the process of growth from a musical "seed" reaches its most radical, original form in the slow third movement, described by one writer as "a lost soul in search of a final home" – a "search" which unmistakably ends in agonising failure. But the Fourth Symphony's strangely stoical ending does suggest that Sibelius had at least partly succeeded in getting his "dark night of the soul" into artistic perspective – a spiritual heroism perhaps, offering an alternative to Väinämöinen's humiliating failure.
Source: Stephen Johnson (hyperion-records.co.uk)
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| Nemanja Radulović (Photo by Lucas Rotter / DG) |
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See also
Live on Livestream: All Past Events
Santtu-Matias Rouvali – All the posts
Gothenburg Symphony Orchestra – All the posts
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