The shifting perspectives of Schubert’s piano works invoke a wordless Romantic narrative in which the inner reveries of a lyrical subject meet an inhospitable outer world. As in the four-handed Fantasy in F Minor, the conflict does not build ineluctably to a single, grand climax, but roams, like a character in a novel, through alien domains. Vocal intimations are enhanced in the Arpeggione Sonata by the sweet poignancy of the string part, originally for arpeggione (a kind of bowed guitar), played in this performance on the viola.
Natacha Kudritskaya piano
Dirk Mommertz piano
Dana Zemtsov viola
FRANZ SCHUBERT Fantasy in F Minor
FRANZ SCHUBERT Arpeggione Sonata in A Minor D 821
Duration 1 hour
After being a junior student with Grigorij Gruzman at the “Akademie für Tonkunst” Darmstadt he studied at the “Musikhochschule Karlsruhe” with André Boanain,at the “Musikhochschule Frankfurt” with Lev Natochenny and at the “Conservatoire National Superieur de Musique Paris” with George Pludermacher. 1st prize at the competition of the “Musikhochschule Karlsruhe” with piano solo in 1996, in 1997 1st prize as a Duo with violin, 3rd prize at the “Newport International Piano Competition” (Great Britain).
In 1998 1st prize at the “International Music Competition Torino” (Italy), 2nd prize at the “Kuhmo International Duo Competition” (Finnland). Radio- and TV productions; performed as a soloist for example with the BBC Symphony Orchestra and the “Stuttgarter Kammerorchester”). Lecturer for piano at the “Musikhochschule Karlsruhe”.
Winner of numerous competitions and developing an outstanding career, Dana Zemtsov is one of the most promising international viola soloists of her generation. Highlights in the past seasons include Dana´s performance of the Bartok Viola Concerto in the Main Hall of the Concertgebouw (Amsterdam), playing chamber music with Janine Jansen and Martin Frost during the Utrecht Chamber Music Festival, and a recital in Carnegie Hall (New York).
In 2012 she signed an exclusive record deal with Channel Classics Records. Dana’s albums “Enigma”,”Romantic Metamorphoses” and the newly released “Essentia” recorded with the Estonian National Symphony Orchestra and conductor Daniel Raiskin have been received with great success by the international press.
The starting point for this concert is Max Richter’s Memoryhouse (2002), an innovative album of remembered and imagined narratives, rendered as musical dreamscapes. Memory was the mother of the muses, however, so it’s no surprise that Richter’s hallowed ground had been broken before, notably, of course, by Schubert, whose intimately expansive piano works exploit new harmonic and tonal freedoms. Harnessing ostensibly capricious musical progressions, these ‘impromptu’ manoeuvres disclose emotions recollected in the crucible of performance. The first part of the show is a ballet, choreographed by Ksenia Zvereva and performed by dancers of the Bolshoi Theatre.
Artists to include
Luciana Mancini mezzo soprano
Hugo Ticciati violin
Julian Arp cello
Kristian Bezuidenhout piano
Dirk Mommertz piano
Marzi Nyman electric guitar
Ksenia Zvereva choreographer
Bolshoi Theatre Ballet
O/Modernt Chamber Orchestra
MAX RICHTER Memoryhouse
FRANZ SCHUBERT Impromptu No. 3 in G-Flat Major
FRANZ SCHUBERT Moments musicaux D 780
FRANZ SCHUBERT Impromptu No. 1 in C Minor D 899
FRANZ SCHUBERT Piano Trio No. 2 in E-flat Op. 100 D 929
FRANZ SCHUBERT String Quartet No. 14 in D Minor, Andante con moto (‘Death and the Maiden’)
JOHN TAVENER Song for Athene
ELTON JOHN Candle in the Wind
FRANZ SCHUBERT Ave Maria D 839
GEORGS PELECIS All in the Past
MUSE Space Dementia
EDWARD ELGAR Variation No. 9 (‘Nimrod’) from Enigma Variations Op. 36
LADY GAGA Always Remember Us This Way
Duration 3 hours
Mezzosoprano Luciana Mancini was born in Sweden, but has Chilean roots. She received her bachelor degree in Classical Singing and Early Music Performance Practice from the Royal Conservatory of The Hague in Holland, where she subsequently joined the Opera Studio. In 2009 she received her Master’s degree, writing a thesis on Italian monodies of the 1600s. Luciana åhas sung under conductors including René Jacobs, Jean-Christophe Spinosi, Enrico Onofri, Pablo Heras-Casado, Neeme Järvi and Juanjo Mena; she has also collaborated with numerous ensembles, notably L’Arpeggiata, La Fenice, Lautten Compagney, Divino Sospiro, Orquesta Barroca de Sevilla, Ensemble Matthäus, and the Bergen Philharmonic Orchestra, singing at venues including the Staatsoper Berlin, Theater an der Wien, Drottningholm Palace Theatre, Carnegie Hall, the Opera Comique and the Margravial Opera House in Bayreuth. Luciana has worked with stage directors such as Benjamin Lazar, Sigrid T’Hooft, Pablo Maritano, Achim Freyer, and with the choreographer Sasha Waltz.
Hugo Ticciati is blessed to be doing what he loves every day of his life – that is, making music. His old Italian violin takes him around the world to fantastic orchestras in gorgeous concert halls; it brings him together with the most inspiring artists to create music in beautiful festivals; and it sparks new creations from young composers. In his teaching Hugo explores ways to apply the physical and spiritual aspects of mindfulness to the art of practising, playing and living in music. One of the highlights of the past year was a two-week stay in an ashram at the foot of the Himalayas where he chanted every morning, meditated and swept the floors by day and in the evenings sat crossed-legged by a fire, playing Bach to barefooted monks. His musical tastes have swung dramatically during the year from contemplative Indian ragas to the megalomaniac rock-band Muse (played at high volumes) to the songs of Richard Strauss (played even louder). Hugo still lives in the blissful state of mobilephonelessness. His staple reading is the Bhagavad Gita but he has recently been captivated by the work of the French philosopher, Henri Bergson.
Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial training as a pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. Kristian first gained international recognition at the age of 21 after winning the prestigious first prize, and audience prize in the Bruges Fortepiano Competition.
Kristian is a regular guest with the world’s leading ensembles including the Freiburger Barockorchester, Les Arts Florissants, Orchestra of the Age of Enlightenment, Orchestre des Champs Elysées, Koninklijk Concertgebouworkest, Chicago Symphony Orchestra & the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) the English Concert, Orchestra of the Eighteenth Century, Tafelmusik, Collegium Vocale, Juilliard 415 and the Kammerakademie Potsdam, & Dunedin Consort (Bach St. Matthew Passion).