• Pierre BOULEZ (85th from the day of the birthday)

    Pierre_Boulez_ 2010 Saint-Petersburg
    Pierre BOULEZ (85th from the day of the birthday)

    Pierre BOULEZ - "hummer Without Master”  will be performed on  26  March  2010 in the State Saint-Petersburg Philharmonia hall by еNsemble of the Pro Arte Foundation  and is to be conducted by Fedor LEDNEV.


    Concert Program:

     “Hummer Without Master”  for contralto, alto flute, guitar,

    vibraphone and percussion after R.Char

    Sonata for piano



    Natalia BOEVA contraltoNikolai MAZHARA piano


    Poems by S.Mallarme and R.Char reads Sergei ZAMOREV


    Nastasya HRUSHCHEVA


    Concert is supported by the French Institute in Saint-Petersburg

  • Saint-Petersburg Composers Union present chamber music concert



    Union Composers Spb


    The Association of Contemporary Music - St. Petersburg Composers Union present chamber music concert


    Friday, 12 March 2010, the Association of Contemporary Music from the St. Petersburg Composers Union will present a concert of chamber music. This program, features works by composers of the St. Petersburg School: Karl Shimalovsky, Boris Arkhimadratov, Igor Vorobyev, Valeriya Sveshnikova, Sergei Oskolkov, Mehsi Hosseini (Iran) and Georgiy Firtich. Anastasiya Papenina will introduce the concert.



    The concert is given with the support of “Kompzitor Saint-Petersburg” Publishing House.

    Concert begins at 7:00 pm

     Entrance is free


  • Kruglik. Slonimsky. Tishchenko

    Marinsky Concert Hall -054569

    17 Jan, 2010 Concert Hall 37, Dekabristov Street

    Opening of the III New Horizons festival

    Kruglik. Slonimsky. Tishchenko

    Vyacheslav Kruglik. Symphony (world premiere) Sergei Slonimsky. Symphony No 21 After Goethe’s Faust (world premiere) Boris Tishchenko. Music from the ballet Twelve

    Mariinsky Theatre Symphony Orchestra

    Soloist: Olesya Petrova (mezzo-soprano) Conductor: Valery Gergiev



    Sergei Slonimsky (born 1932) People’s Artist of Russia, recipient of State Prizes (1983 and 2002) and the Baltic Star International Prize (2009), cavalier of Russia’s order “For Services to the Fatherland”, fourth class, and of the Republic of Poland’s cross of the order “For Services”. He has composed the operas Virineya, The Master and Margarita, Mary Stuart, Hamlet, Visions of Ivan the Terrible, King Lear and Antigona, the ballets Icarus and The Magic Nut, twenty-seven symphonies, instrumental concertos, sonatas and ensembles, cantatas and oratorical suites, twenty-four preludes and fugues for piano, romances, music for the films The Republic SHKID, Intervention and many other works besides. Slonimsky’s music is performed frequently and has been published and released on CD in Russia and abroad. Symphony No 21 (From Goethe’s “Faust” ) was composed in 2009.


    Symphony No 21. From Goethe’s “Faust” (2009) This three-movement symphony continues the theme of Faust already approached by Berlioz and Schumann, Liszt and Gounod, Mahler and Schnittke. The first movement – Faust – embodies Faustian reflection, an uneasy search for the meaning of life and that unattainable beautiful instant that can be bought only at the cost of life itself. The second movement – Marguerite’s Song – is a romantic ballad for mezzo-soprano and orchestra to poetry by Goethe (in the original German). The abandoned Gretchen appears in deep melancholy and loneliness, in bursts of happiness and in bright recollections, on the eve of her terrible demise on earth. At the same time, Goethe’s Marguerite is one of the symbols of “the eternally Feminine” that elevates the human soul and carries it to precious truth and deathlessness. The finale – Walpurgisnacht – uncovers the Mephistophelian in Faust. The Sabbath of evil forces is cut through by motifs of Faust’s will, the rhythms of racing and of flight. At the end, Faust’s theme returns and achieves a monumental culmination accompanied by infernal rhythms and sounds.



    Boris Tishchenko

    Boris Tishchenko (born 1939) People’s Artist of Russia (1987), recipient of the Glinka State Prize of Russia (1978), Honoured Artist of Russia (1978), prize-winner at the Prague Spring 1966 International Competition and recipient of the St Petersburg Mayor’s Prize (1995). Member of the Union of Composers of St Petersburg. Professor at the St Petersburg Conservatoire. He has written eight symphonies, the grandiose cycle of fife Dante Symphonies, ten concertos for various instrumental ensembles, string quartets, sonatas for various instruments, the ballets Fly-Bee, Twelve and Yaroslavna, the opera The Stolen Sun, the operetta A Cockroach, several vocal cycles and music for theatre productions and films. The ballet Twelve (a “choreographic performance in one act” after the poem of the same name by Alexander Alexandrovich Blok) was written in 1963 and was staged for the first time one year later at the Kirov Theatre by Leonid Yakobson.


    Twelve, one-act ballet after the poem by Alexander Blok (1963) “A black night. White snow…” Before us lies the first page, the first number or “title” of the one-act ballet Twelve. Before each number, before the notes, a line of poetry is printed on the page. These lines are not spoken aloud, they are not sung, and yet still the composer sprinkles them generously into the score … so that, one way or another … it continued to resound with its rhythm, its music like something written by Blok, as it sounded, it would appear, in the composer’s consciousness… It, this word, bursts out in the flow of the music, guiding it not just in terms of the imagery and meaning, but also in terms of the rhythm and intonation… “In the music of the ballet, one can sense the speech, the word to such an extent that the individual fragments appear to be intended not for a ballet but for an oratorio where the orchestra has for some reason taken the place of both the chorus and the soloists.” (Boris Kats. About the Music of Boris Tishchenko. Leningrad, 1986)

      Vyacheslav Kruglik (born 1977) A pupil of Boris Tishchenko, he graduated with distinction from the faculty of composition of the St Petersburg State Rimsky-Korsakov Conservatoire. In 2005 he became a prize-winner at the Mariinsky Theatre’s All-Russian Competition as the composer of the opera The Carriage based on Nikolai Vasilievich Gogol’s tale, premiered during a festival run by the theatre to mark two centuries since the composer’s birth. Together with Svetlana Nesterova, he composed the choreographic quest Semyon. Version 1.0, which was awarded a prize at the Bolshoi Theatre and the Union of Theatre Worker’s competition to create an operatic and choreographic work for children and young people (2008). He has composed a concertino for wind instruments, harp and percussion, two string quartets, the vocal cycles Three Cypresses and About a Horse, sonatas for flute and piano and the ballet scene Two Again.

    Symphony (2000) This symphony is a two-part cycle. The first (Allegro) is in sonata form; the main part is based on a lively, many-times repeated melodic sketch. The contrast comes with the second, song theme – weighty and “sluggish” – clearly of folk origin. As they develop, these themes gradually dominate the entire orchestra and, “weakened” by the conflict, they subside. The slow second movement (Larghetto) is initially born in the deep basses and in its gradual emergence it constantly takes on new registers. This augmentation breaks off on a dynamic culmination. In the ghostly, chamber sound of the harps, flute and clarinet comes a moment which the Ancient Greeks would have called “catharsis”, indicating an enlightening or, at least, a distanced look at a tragedy that has occurred, at suffering endured.

  • Daniel Kern speaking about the Mariinsky Theatre’s organ

    Marinsky - organ

    organ - marinsky


    Daniel Kern speaking about the Mariinsky Theatre’s organ 

    The Mariinsky Theatre’s organ is a blend of the Classical and the Romantic movements of French organ construction traditions. Thanks to the typically French classical registers (trumpets, clairons, cornets and сrumhorns among others) this instrument facilitates interpretations of classical organ music. The organ has a large, Romantic Schwellwerk, which ensures that the entire legacy of Romantic music may be performed in full.

    The organ has an exceptionally sensitive and precise “suspended” playing tractura. In turn, this ensures an incredibly delicate manner of performing and allows the organist to take into account all the different nuances while playing. The solo registers, such as the flutes and reeds (bassoon – oboe, voix humaine and so on), imbue this instrument with poetry and charm.  

    Building this instrument was a great honour for me, as well as being an unforgettable pleasure. I am tremendously grateful to Mr Gergiev for the trust he has shown and also to Mr Kinyaev for his wonderful and constructive collaboration.

    I would like, in addition, to express my boundless gratitude to the company Neviss-Complex and its staff for also providing technical support.

    I hope that this instrument will bring great joy to St Petersburg’s music lovers, and I am also firmly convinced that this new wind organ will further cement and strengthen the friendship between Russia and France.

  • Golijov, Schnittke, Wagner and Stravinsky

    Saint-Petersburg Chamber Philharmonic

    Golijov, Schnittke, Wagner and Stravinsky
    St. Petersburg Chamber Philharmonic
    Jeffery Meyer, conductor
    Naomi Niskala, piano
    November 30, 2009, 7 pm
    Glinka Hall, Philharmonic

    Golijov, one of the most successful and active composers working today, is rarely played in Russia and it is with great pride that the St. PCP will open this event with "Last Round", Golijov's tango-inspired work for strings. The St. PCP will then present Naomi Niskala, in her Russian Debut. Niskala has performed internationally as soloist and chamber musician to great acclaim in series such as the San Francisco Symphony Chamber Series at Davies Symphony Hall and Spectrum Concerts Berlin at Philharmonie Hall. The concert will conclude with two masterworks for chamber orchestra by Wagner and Stravinsky.


    Golijov: Last Round (1996)
    Schnittke: Concerto for Piano and Strings (1979)
         Naomi Niskala, piano
    Wagner: Siegfried Idyll
    Stravinsky: Dumbarton Oaks

  • How an Opera is Staged


    2009, 8 Nov, Sunday, 12:00

    Concert Hall
    37, Dekabristov Street


    How an Opera is Staged

    For a child, the theatre is a huge, astonishing world of light, colours and sounds. It’s interesting to look at the details of the vivid sets, it’s fascinating to see a performer close up, it’s mesmerising to see the costumes of the various characters. At times the physical world of the stage appeals to younger audiences more than the action itself; after all, children love to make new discoveries, taking things apart or smashing them up once they have them in their hands and trying them out to suit their own “taste”. And how many questions – both naive and deep – they have when trying to get to the heart of the most precious thing of all – the creative process!

    The first concert and get-together in the Young Theatre-Goers’ Academy subscription offers our younger audiences the opportunity to discover the small secrets of great art and to take part in creating an opera production: to learn about theatre professions and assemble an opera company and to “take apart” and “put together” a production.

    An invisible thread leads from the stage to the auditorium, one that remains intact even after the performance is over. Young theatre audiences will be given some engaging and creative tasks to do at home.


  • title-7210494

    A REVERSE PERSPECTIVE: Russian Classical Literature in the Mirror of Modernity.
    Dedicated to the anniversaries of the births of Pushkin (210 years), Gogol (200 years), and Futurism (100 years).

    Organized by Vassar College, Apollon Art and Music Society, and the Pushkin Museum of the Russian Frderation in St. Petersburg,


    This international conference will take place on the Museum's premises at Moika 12 on October 20-21.

    The conference will explore two main themes: a) Trends in classical Russian literature that foreshadow seminal developments in modernist literature, music, performing and visual arts. b) Reverberations of the Russian classics in the period of modernism and post-modernism.  Conference covers a wide spectrum of classical Russian literature, with a particular focus given to the work of Alexander Pushkin and Nikolai Gogol in context of modern art, including literature, visual arts and music.

    Participants - scholars on the fields of literary studies, theatre, art history and musicology, from different cities of Russia, Poland, Ukraine, Finland, USA.

    The conference will be complimented by a concert of contemporary music "Composers and Musicians of St. Petersburg School" - that will take place at 7PM on October 21.

    Sergey Slonimski, Georgi Firtich, Sergey Oskolkov, Mehdi Hosseini (Iran), Valeria Sveshnikova, Nastasia Khruscheva will present their works. 

  • Nordic Shores: Four Generations of Danish Composers

    Nordic Shores: Four Generations of Danish Composers
    2009 Nordic Music Festival

    St. Petersburg Chamber Philharmonic
    Anne Marie Granau, conductor
    Ellen Sejersted Bødtker, harp

    Friday, October 29, 2009, 7 pm
    Glinka Hall, Philharmonic


    Join the St. PCP as it celebrates Nordic music of the 20th century and present day with two anniversaries (Ruders is 60 years, Holmboe is 100 years in 2009) and two world premieres (Schmidt and Fundal). Four generations of important Nordic composers are represented, performed by the St. Petersburg Chamber Philharmonic and the distinguished female musicians Ellen Sejersted Bødtker, harp and Anne Marie Granau, conductor. The participants of the concerts are from Russia, Norway, Finland and Denmark. The concert reflects and unites the focuses of both the Nordic Music Festival (celebrating composer anniversaries and providing opportunities for young musicians from Scandinavia and Russia) and of the Petersburg Chamber Philharmonic's mission of cultural exchange and integration of music of our time into the standard repertoire of the concert hall.


    Nicklas Schmidt (1976-): Cubulus - for Chamber Orchestra
         commissioned by St. Petersburg Chamber Philharmonic (World premiere)
    Karsten Fundal (1966-): Harp Concerto "The Shore" (World premiere)
    Maja Ratkje: Moods IV (for solo harp) (World premiere)
         Ellen Sejersted Bødtker (Norway)
    Vahn Holmboe (1909-1996): Sinfonia No. 2, op. 73
    Poul Ruders (1949-): 4 Compositions (1980) (in honor of his 60th birthday)


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  • Opening of the NEW HORIZONS II Festival of Contemporary Music

    Opening of the NEW HORIZONS II Festival of Contemporary Music


    Mariinsky Theatre Soloists, Chorus and Symphony Orchestra Conductor — Valery Gergiev


    Olivier Messiaen. L'Ascension Pierre Boulez. Notations I-IV Rodion Shchedrin. Lolita (Act II)

    Valery Gergiev


    The orchestral cycle L'Ascension (1933) was an incredibly symbolic work, as it was here that the idea first emerged that would form the basis for all of the maestro´s subsequent music: the idea of ascent as a symbol of the spiritual purification of the faithful. A four-section composition, the significance of the separate movements bring to mind certain analogies with the traditional symphonic cycle, but here the listener will find no typical techniques of symphonic development. The majestic restraint of Ascension is conditioned by the idea it carries: not outer drama, but rather an inner state, where events in a person´s spiritual life determine the character of the work. The religious tendency is underlined by the composer´s own subheading ? Meditations. Meditation (in the sense of thought or comment) is the leading idea in the French composer´s works, it could be said his working method, visible in various hypostases in Messiaen´s music. The liturgical feel of Ascension also emerges thanks to the use of modified church refrains, the flexible rhythm rooted in Gregorian chant, the majestic choral episodes. The idea of ascent is also embodied in terms of pitch: each movement of the canvas sounds higher than the last, and the work ends with an uneven harmony, in a sense giving the music eternity ? the eternity of life in Heaven. This tendency to strive upwards renders the composition akin to the structure of Gothic cathedrals that Messiaen so admired. Thus the French composer´s dream is brought to life, his desire to "conduct a special kind of divine service in the concert hall" and expand spiritual space beyond the confines of church walls.

    Nadezhda Kulygina


    Pierre Boulez´ Four Notations  were commissioned in 1987 by a Parisian orchestra. The work is an orchestral suite based on the youthful Twelve Notations of his youth (1945). The composer selected the first four sections of his work and arranged them in the order 1-4-3-2. The new version of the work was incredibly successful. As Dmitry Smirnov wrote, "Boulez has fundamentally reworked the music, giving the smallest nuances the chance to grow and "blossom", appearing in all their shades and colours, as if in a magic mirror, the huge scale of a grand symphony orchestra of one hundred and fourteen musicians. In genre the Notations are a cycle of preludes or bagatelles, impromptus or moments musicaux, intermezzos or capriccios, novelettes or arabesques, fleetingness or a microcosmos. The word "notation", preferred by Boulez and of a specifically abstract nature, almost focusses our attention on the notes themselves, trying to draw us away from any poetic associations. But the music itself is at crossed swords with this, imbued as it is with a vast spectrum of associations? They are all contrasting in character, rich in vivid musical images and unexpected turns. Their aesthetics are a kind of Austrian expressionism seen through the prism of French impressionism."

    Yekaterina Yusupova


    Rodion Shchedrin´s opera Lolita after the novel of the same name by Vladimir Nabokov was first performed in Stockholm on 14 Secember 1994 under Mstislav Rostropovich. The libretto was written by Rodion Shchedrin himself in Russian, translated into Swedish for the premiere and subsequently it appeared in English. In Russia the premiere of Lolita took place at the Perm Theatre of Opera and Ballet on 12 May 2003. Rodion Shchedrin defines the genre of the work as a "grand opera in three acts". The opera´s main focus centres on the actions of four characters ? Lolita, Humbert Humbert, Charlotte and Quilty, a cynical dissolute that Humbert kills. A scandalous story lies behind Nabokov´s novel. After it was published the author was accused of immorality, and in France the the novel was declared pornographic. But it was Lolita that brought Nabokov international acclaim. According to Shchedrin, the "plot of Lolita is a wonderful thriller that is crying out to be made into an opera." But for the composer, uppermost was not the scandal of the novel but rather its moral content ? the collision in the protagonist´s soul. It is not by chance that the action unfolds through the prism of Humbert Humbert´s own recollections, sitting in his prison cell and awaiting the death penalty. On a radio show Rodion Shchedrin once said that for him Lolita was "a novel about a beauty that dies very quickly, about nostalgia for beauty. For me it is more of a symbol. For me Lolita is less of a living creature and more of a generalised image of fleeting, alas all too transient beauty."

    Yegor Kovalevsky

  • NEW HORIZONS II. Festival of Contemporary Music

    Gyorgy Kurtag. Grabstein fur Stephan - Russian premiere
    Gyorgy Ligeti. Violin Concerto - Russian premiere
    Bela Bartok. Duke Bluebeard's Castle (one act opera)

    Soloist - Jennifer Koh (violin)
    Mariinsky Theatre Soloists and Symphony Orchestra
    Conductor — Valery Gergiev

    Duke Bluebeard's Castle
    Duke Bluebeard - Edem Umerov
    Judith - Natalia Evstafieva

    Jennifer Koh (violin)

    Jennifer Koh (violin)

    Prize-winner at International Competitions

    Born in Chicago of Korean parents, Jennifer Koh currently resides in New York. She is a graduate of Oberlin College (Ohio) and of the Curtis Institute(Philadelphia), where she worked extensively with Jaime Laredo and Felix Galimir. Since the 1994-95 season, when Jennifer Koh won the silver medal at theInternational Tchaikovsky Competition, the Concert Artists Guild Competition and the Avery Fisher Career Grant, she has been heard with leading orchestrasand conductors around the world, including the Cleveland Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the New York Philharmonic,the Chicago Symphony, the Cincinnati Symphony, the Detroit symphony, San Diego Symphony, Hartford Symphony, Jacksonville Symphony, Houston Symphony,Charleston Symphony, Helsinki Symphony, the Dortmund Philharmonic, the Polish Chamber Orchestra, Iceland Symphony, the Moscow Radio Symphony and theMoscow State Academic Symphony Orchestra. In December 1999, she made her Carnegie Hall debut performing Mozart’s Violin Concerto in A Major with the NewYork String Orchestra under Jaime Laredo. A prolific recitalist, Jennifer Koh appears frequently at major music venues and festivals, including CarnegieHall, the Kennedy Center, Mostly Mozart (New York), the Ravinia Festival (Chicago) and the Spoleto Festival (Italy).
    Jennifer Koh is grateful to her private sponsor for the generous loan of the 1727 Ex Grumiaux Ex General DuPont Stradivari she uses in performance.


    Great Transylvanian Discoveries in Sound

    The subject of the Symbolist opera Duke Bluebeard's Castle can essentially be summed up in one phrase: the two main (and essentially only) characters - the Duke and his new bride Judith - open the doors to a mysterious castle. Here the important thing is not the plot but the atmosphere of mystery and, as it unfolds, the audience finds itself right there together with the characters. In 20th century music, the music of three great Transylvanian composers formed precisely such a mysterious castle. Behind the seven doors of this castle, a previously unknown richness of sound was to be discovered, the varied nature and secret meaning of the rhythm of its inner being.
    In the 19th century, Hungarian music faithfully travelled the path of marginal national culture, rejecting the Germanic style. It even gave the world the magnificent Liszt (who albeit composed far from his homeland) and the popular dance style known as the Verbunkos.
    But time alters all. In 1911 Béla Bartók was writing his opera Duke Bluebeard's Castle, encroaching on the nature of sound material, discovering the inner link between sound and light, using non-classical harmonies connected with primordiality.
    Later, after the War, the mysterious nature of the timbre became one of the key creative tendencies in the music of other composers of Hungarian descent - such as Kurtág and Ligeti.
    György Kurtág was extremely laconic in his choice of means. As if afraid of missing the delicate moment of harmony between the life and death of sound, he follows it as if following a sunbeam. He penned many works devoted to the dead. Among them, Grabstein für Stephan is one of the most bewitching.
    György Ligeti's Violin Concerto is an utterly transcendental work. The philosophy of timbre brought the composer in the twilight of his creative life to the discovery of cosmic pulsations and metaphysically coloured images. A rare wind instrument, the ocarina, combined with the violin timbre, creates an otherworldly, transparent sound.
    -Daniil Shutko

  • Valery Gergiev has received the prize of the British Royal Philharmonic Society as “Conductor of the Year”.



    12 May Valery Gergiev has received the prize of the British Royal Philharmonic Society as “Conductor of the Year”

    The prize of the Royal Society is the highest possible public award in the United Kingdom in classical music. “Energy, passion and being prepared to take a risk – this is what characterises his genius, he selflessly promotes the work of those other conductors in whom he believes. This conductor rouses inspiration both in musicians and in audiences,” the official jury commented in an official statement regarding its selection.

    In the twenty years since it was founded, the prize has been presented to such outstanding conductors as Pierre Boulez, Mariss Jansons and Sir Andrew Davis and soloists including Bryn Terfel, David Daniels, Violeta Urmana, Itzhak Pearlman and Geoffrey Parsons among others.


    Valery Gergiev

    Valery Abisalovich Gergiyev (Ossetic: Гергиты Абисалы фырт Валери; Russian: Вале́рий Абиса́лович Ге́ргиев) (born 2 May 1953) is a Russian conductor and opera company director. He is general director and artistic director of the Mariinsky Theatre, principal conductor of the London Symphony Orchestra, and principal guest conductor of the Metropolitan Opera. Valery Gergiev is the artistic director of the White Nights Festival in St. Petersburg.

    In 1978, he became assistant conductor at the Kirov Opera, now the Mariinsky Opera, under Yuri Temirkanov, where he made his debut conducting Sergei Prokofiev's War and Peace. He was chief conductor of the Armenian Philharmonic Orchestra from 1981 until 1985 - the year he made his debut in the United Kingdom, along with pianist Evgeny Kissin, and violinists Maxim Vengerov and Vadim Repin, at The Lichfield Festival.

    In 1991, for the first time, Gergiev conducted a western European opera company with the Bavarian State Opera in a performance of Modest Mussorgsky's Boris Godunov in Munich. In the same year he made his American début, performing War and Peace with the San Francisco Opera. Since then he has conducted both operatic and orchestral repertoire across the world. Gergiev is also associated with numerous music festivals, including the White Nights festival in Saint Petersburg.

    He became the chief conductor and artistic director of the Mariinsky in 1988, and overall director of the company, appointed by the Russian government, in 1996. In addition to his artistic work with the Mariinsky, Gergiev has worked in fund-raising for such projects as the recently built 1100-seat Mariinsky Hall, and intends to achieve complete renovations of the Mariinsky Theatre by 2010.[3]

    From 1995 to 2008, Gergiev was principal conductor of the Rotterdam Philharmonic Orchestra. In 1997, Gergiev became principal guest conductor of the Metropolitan Opera in New York City. His current contract there runs through the 2007-2008 season. His premieres there have included a new version of Mussorgsky's Boris Godunov, revised and reorchestrated by Igor Buketoff.

    In 2002, Gergiev was featured in one scene in the film Russian Ark, directed by Alexander Sokurov and filmed at the Hermitage Museum in St. Petersburg, Russia.

    In 2003, he initiated and conducted at the Mariinsky Theatre the first complete cycle of Wagner's The Ring of the Nibelung to be performed in Russia for over 90 years. The production's design and concept reflects many aspects of Ossetian culture. Gergiev conducted this production in Cardiff in 2006 at the Wales Millennium Centre, and in Costa Mesa, California in October 2006 at the Orange County Performing Arts Center. This production was presented at the Lincoln Center in New York City in July 2007 to a great acclaim, and the run was completely sold out.

    In 1988, Gergiev made his first guest conducting appearance with the London Symphony Orchestra (LSO). In his next appearance with the LSO in 2004, he conducted the symphonies of Sergei Prokofiev.[4] This engagement led to his appointment in 2005 as the Orchestra's fifteenth principal conductor, succeeding Sir Colin Davis effective January 1, 2007.[5] Gergiev's initial contract with the LSO was for 3 years.[6] His first official concert as the LSO Principal Conductor was on 23 January 2007, as he was supposed to have conducted his first concert as LSO Principal Conductor on 13 January, but had to withdraw because of illness.[7]

    In October 2007 Gergiev took part in a unique holiday project featured in the 100th anniversary issue of the Neiman Marcus Christmas Book. A concert by Gergiev and the Kirov Orchestra featuring piano virtuoso Lola Astanova became a part of a $1.59 million fantasy gift. The super concert is said to be hosted by the Emmy-winning American television personality Regis Philbin.[8]

  • The St Petersburg International Early Music Festival

    The St Petersburg International Early Music Festival
    27 SEPTEMBER – 19 OCTOBER 2001

    The St Petersburg International Early Music Festival was founded in 1998 as a joint initiative between the British Council and the ensemble Musica Petropolitana to celebrate the 300th anniversary of Peter I's "Great Embassy" to England. It has now become an annual event organized by several of the Consulate-Generals and foreign cultural centers in St Petersburg, the Delegation of the European Commission in Russia, and the Russia Early Music Trust. It enjoys the support of the city Administration's culture committee and of the 2003 committee.The Festival draws on the musical traditions of Western Europe, Russia and of the East, and presents one of the leading tendencies of the music world in recent years: that of authentic performance, which strives for the greatest possible degree of historical accuracy and faithfulness to the original, using period instruments and "in the manner of the time".

    The Festival's overwhelming success with audiences, musicians and critics alike over the past three years means that it is now established as one of the country's most important cultural events.

    The Festival from 1998 to 2000…

    Presented concerts by: Gustave Leonhardt (harpsichord, the Netherlands), Michael Chance (counter-tenor, UK), Andrew Manze and Richard Egarr (baroque violin and harpsichord, UK) Emma Kirkby and Anthony Rooley (soprano and lute, UK), Christophe Coin ('cello, France), Weiland Kujken (viola da gamba, Belgium), Nigel North (lute, UK), Il Giardino Armonico (Italy), Fretwork (UK), Anonymous 4 (USA), Oltremontano (Belgium), The Orlando Consort (UK), The Moscow Patriarchate's Choir, the Moscow Conservatoire Early Music Ensemble, Musica Petropolitana.

    Premiered the works of: Anton Ferdinand Tietz (b.1742, Nuremberg; d.1810, St Petersburg), one of the most remarkable musicians at the court of Catherine the Great, teacher of Alexandre I; Jean-Baptiste Cardon, French harpist and composer at the court of Catherine the Great; Johann Henrich Facius (b.1760, d.1806), German 'cellist and composer in the service of Count N.P. Sheremetev.

    Delivered regular master-classes by Europe's most distinguished professors.

    Marked the 100th anniversary of the St Petersburg Museum of musical instruments with a series of exhibitions.

    Marked the Bach 250th anniversary with a musical marathon at the Sheremetev Palace.

    Has published a Festival journal annually and organised a series of lectures.

    The Festival from 2001 to 2003 will include:

    Each year, an incredible season of concerts bringing some of the world's greatest performers and music to St Petersburg.

    • New horizons:early music of the Middle and Far East.
    • Rediscovered treasures: Russian court music of the 18th century.
    • The creation of Russia's first baroque orchestra.
    • Baroque Opera: world-class productions of masterpieces by Handel, Purcell, Paiziello, Traetta.
    • Special festival broadcasts on France Musique, BBC Radio 3, WDR, EBU.

    27 SEPTEMBER – 19 OCTOBER 2001



    Festival Opening
    27 September, Thurs.

    Musica Petropolitana (St Petersburg) and Olga Pasechnik (Poland)

    28 September, Fri.

    Siebe Henstra (clavichord, Netherlands)

    29 September, Sat.
    Conservatorie Concert Hall

    Jose Miguel Moreno (lute, Spain)

    30 September, Sun.
    Peterhoff Palace

    Catherine the Great Orchestra (St Petersburg)

    1 October, Mon.
    Conservatoire Concert Hall

    Trio Hantai (France)

    2 October, Tues.

    “Drevnerusski Raspev”
    The Choir of the Moscow Patriarchate

    4 October, Thurs.

    Michael Chance (counter-tenor, UK)

    5 October, Fri.

    Trio Ponseele (Belgium)

    7 October, Sun.
    Conservatoire Concert Hall

    Edward Parmentier (harpsichord, USA)

    9 October, Tues.
    Conservatoire Concert Hall

    Orchestra of the Sixth Floor (Finland)

    12 October, Fri.
    Menshikov Palace

    Andres Mustonen Trio (Estonia)

    13 October, Sat.
    Lutheran Church
    of St Catherine

    Yuri Semenov (organ, St Petersburg) and
    Yuri Martynov (harpsichord, Moscow)

    14 October, Sun.

    Andrei Reshetin (violin, St Petersburg)

    15 October, Mon.

    Alexei Lubimov (hammerklavier, Moscow)

    16 October, Tues.
    Sheremetev Palace

    Mara Galassi (harp, Italy)

    17 October, Wed.

    Anthony Rooley and Evelyn Tubb (UK)

    18 October, Thurs.

    Christine Schornsheim & Christophe Hundgeburth (Germany)

    Festival Closing
    19 October, Fri.

    Il Giardino Armonico (Italy)



    The 4th International Early Music Festival opens this year on 27 September and runs until 19 October. The venues for the concerts are the State Capella, the Philharmonic Chamber and Great Halls, the Menshikov and Sheremetyev Palaces, the Throne Room of the Grand Palace at Peterhoff and the Greek Room at Pavlovsk Palace.


    The festival’s partners are consulates and cultural centres in St. Petersburg: the Dutch Institute, the French Institute, the Goethe Institute, CEC International Partners (US) and the Consulates-General of Italy, Finland, Netherlands, Poland, as well as the honorary consulate of Spain. The Festival receives support from the Delegation of the European Union in Russia. This alliance has afforded the festival’s organisers the possibility of inviting some world famous soloists and ensembles.


    This year, as in the past, the festival will present a “European season” of early music in Russia. The opening concert at the Capella on 27 September features a rising star of European opera, the Polish soprano Olga Pasiechnyk. One of the leading contemporary exponents of early music and a favourite with audiences, the British counter-tenor Michael Chance, will be appearing at the Capella on 4 October. In the Philharmonic Chamber Hall on 17 October, the celebrated British musicians Anthony Rooley and Evelyn Tubb (lute and mezzo-soprano) will perform a programme entitled “A Many-Coloured Coat. Love songs of Christianity, Islam, Judaism and Neoplatonism”. Il Giardino Armonico from Italy, which will be appearing in the festival’s closing concert in the Great Hall of the Philharmonia on 19 October, is the most fashionable group in the European music world; its irrepressible energy, perfection in performance and sheer style have brought it world-wide acclaim and the mutual love of the Italian opera diva Cecilia Bartoli.


    The tastes and styles of various nationalities will be represented in the concerts: from Spain – Jose Miguel Moreno (29 September, Philharmonic Chamber Hall); from France – Trio Hantai (4 October, Capella); from Belgium – the Marcel Ponseele Trio (5 October, Philharmonic Chamber Hall); from Finland – the Orchestra of the Sixth Floor (9 October, Philharmonic Chamber Hall); from Russia – the Orthodox choir of the Moscow Patriarchate “Old Russian Chant” (2 October, Capella) and Andrey Reshetin (14 October, Capella).


    The clavichord will be heard in Russia for the first time in 150 years – Siebe Henstra (Netherlands, 28 September in the Greek Room at Pavlovsk Palace), as will a concerto for baroque harp – Maria Galassi (Italy, 16 October, Sheremetyev Palace).


    During the festival a concert will be given by the Catherine the Great Orchestra – part of a project to establish Russia’s first regular professional baroque orchestra. The concert will take place in the Throne Room of the Grand Palace at Peterhof (30 September). This orchestra is intended to be at the centre of an Academy of early music, where young Russian musicians will be given the opportunity of studying with leading European specialists; this year the legendary violinist Maria Leonhardt will be giving master classes, as will US harpsichordist Edward Parmentier, and British counter-tenor Michael Chance (masterclasses are held at the Rimsky-Korsakov Conservatoire).


    The festival’s educational programmes will be supplemented by a lecture series and the issue of an Almanac – a unique publication, including articles by leading researchers and entertaining material about early music and its role in society.


    The festival will also feature “society entertainments” – the concert at Pavlovsk on 28 September, which will be the culmination of a Palace Day, and at Peterhoff on 30 September – a concert, fountains, fireworks and wine-tasting. Other amusements will be on offer throughout the festival.


    The Early Music Festival in St. Petersburg is not merely a series of concerts – more a philosophy of taste in life.


    Detailed information about the festival concerts and photographs are available from the Festival Organising Committee

    International Early Music festival
    tel +7/812/ 327 0889
    fax +7/812/ 1181939
    3 Kaluzhsky Pereulok St Petersburg, 193015

  • Kompozitor Publishing presents Hosseini collection

    Kompozitor Publishing presents Hosseini collection


    Kompozitor Publishing presents Hosseini collection

    Kompozitor Publishing House of St-Petersburg presents a collection of two acclaimed works by Saint-Petersburg State Conservatory-educated Composer and Ethnomusicologist Mehdi Hosseini, a quintessential Persian composer who has written a number of playful and engaging works for a wide range of ensembles. In August, Hosseini's String Quartet No. 2 will be published, followed next year by his Concerto for String Quartet and Chamber Orchestra. Kompozitor Publishing is the oldest publishing house for music literature in Russia; the majority of its output focuses on representatives of the St. Petersburg composition school, printing the works of classic authors such as Glinka and also contemporary greats like Slonimsky.

    Mehdi HosseiniMehdi Hosseini was born in 1979, in Tehran, where he studied music theory, Persian music and composition with Farhad Fakhredini. He later completed his Bachelors and Masters degrees in Composition at Saint Petersburg State Conservatory in St. Petersburg, Russia. There he studied composition with Alexander Minatsakanian and afterwards took a postgraduate course with the composer Sergei Slonimsky and conducted research on Eastern music with Professor Tatiana Bershadskaya. Apart from his education in Russia, Mr. Hosseini has also been a student of the composer Nigel Osborne.

    He has demonstrated his creative capabilities as a composer and his research abilities as a ethnomusicologist and theorist. Hosseini has written symphonic music and chamber orchestra pieces for ensembles and soloists in various compositional genres.



  • Sergey Oskolkov and His Friends

    The I-IV International Arts Festival
    Beginning of June, annualy
    Palace-and-park ensemble "Peterhof" and "Oranienbaum"

    The I - IV "Sergey Oskolkov and His Friends" International Arts Festival is a fascinating event in the St. Petersburg cultural life. This celebration of music, art, poetry and film, takes place every year in the beginning of June, to the excitement of its audience, which includes both new admirers and old fans.

    Sergey Oskolkov is a St.Petersburg composer and pianist, member of the Russian Composers' Union and also of the Modern Music Association, who has united artists, musicians and poets of the same spiritual and creative inclinations around his festival. The International Oskolkov Arts Festival takes place in former royal and aristocratic palaces, which are now museums, such as historic reserves "Peterhof" and "Oranienbaum". These jewels of architecture are located in the middle of magnificent parks and gardens. The interweaving of nature and artifice creates a unique atmosphere, which makes the festival a perfect opportunity for creative expression and dialogue.

    The festival organizers decided to conduct their event in Peterhof and Oranienbaum in order to revive great cultural traditions of the past. They wanted to return the former importance to the old St.Petersburg suburbs, which used to be centers of social and cultural life in the summer. It was in the summer, that the Royal family moved to their estates outside St.Petersburg, where the cultural elite followed them.

    The "Sergey Oskolkov and His Friends" International Arts Festival offers symphonic and chamber concerts, performances of string ensembles and soloists, exhibitions of modern paintings, graphic arts, sculpture, and applied art. It also includes screenings of documentary films about Russian art celebrities, poetry readings, ballet and theater productions.

    Prominent Russian and international musicians, artists, poets, and directors take part in the festival events. In every artistic milieu, the festival combines tradition, experiment, and improvisation, thus getting its audience involved in creative expression and turning its visitors into its active participants during the entire program, which usually lasts several days.



    V International Art Festival
    “Sergei Oskolkov and his friends”

    1-10 June 2001

    1 June, Friday

    “Petrovsky Narodny Bank”, Peterhoff - 15.00
    Opening of exhibition of modern artists from St.Petersburg.

    Throne Hall of the Grand Palace of Peterhoff - 18.00
    “It is only to love that music is inferior…”
    Opening concert
    (Caccini, Rachmaninoff, Godard, Tosti, Schumann, R.Strauss, Tchaikovsky, Vakulenko, Grieg, Oskolkov, Albèniz , Granados, Falla)
    Soloists of Mariinsky Opera House, Mussorgsky Ballet and Opera House, Schostakovitch Philharmonic Society of St.Petersburg – Galina Sidorenko (mezzo-soprano), Nickolay Ostrovsky (tenor), Gennady Nickonov (trumpet), Sergei Roldugin (cello) and others.

    2 June, Saturday

    “Znamenka” Manor - 18.00
    “It is so nice here…”
    (Bulakhov, Alyabiev, Tchaikovsky, Rachmaninoff, Mozart, Liszt, Russian folk music)
    Natalia Vlasova (soprano), Anatoly Timofeev (baritone), Sergei Oskolkov (piano), “Zabava” group: Marina and Vladimir Fonin

    3 June, Sunday

    Stone Hall, Oranienbaum - 18.00
    “Our friends from Germany”
    (Chopin, Vivaldi, Bach, Bizet, Beethoven)
    Chamber orchestra “Kaiserin-Friedrich Schule” (Bad-Homburg, Germany), conductor Albrecht Reuter

    4 June, Monday

    Peter I Palace, Strelna - 18.00
    “Refined entertainment”
    (Karulli, Vivaldi, Bach, Granados, Albènis, Rodrigo)
    Guitar duet – Larissa Churaeva, Ilya Permyakov

    5 June, Tuesday

    Small Exhibition and Concert Hall, Oranienbaum - 15.00
    “June Art Exhibition”
    Works by St.Petersburg, Bryansk, Hamburg and London painters.

    Stone Hall, Oranienbaum - 18.00
    “Black and White St. Petersburg” (dedicated to 95th anniversary of D. Schostakovitch)
    (Schostakovitch, Panchenko, Kulikova, Shumilov, Zhuravlev)
    “Russian Tradition” Association
    Concert choir of Mussorgsky Ballet and Opera House; art director and conductor Vladimir Stolpovskikh

    6 June, Wednesday

    Small Exhibition and Concert Hall, Oranienbaum - 15.00
    “The Second Wind”
    Alexander Oskolkov – a poet, a writer and a musician

    Stone Hall, Oranienbaum - 18.00
    “AMM presents”
    Music of late XX – early XXI cc.
    (Arkhimandritov, Korchmar, Barnard, Oskolkov, Uspensky, Francois, Firtich)

    7 June, Thursday

    The House of Anjou, Oranienbaum - 15.00
    “The Lilac City”
    Visit to the site of the International Symposium on Sculpture and Ceramics

    Small Exhibition and Concert Hall, Oranienbaum - 18.00
    “That is how the poets lived…”
    St. Petersburg poets read their works
    “Paris Suite” + the milk-shake party

    8 June, Friday

    Stone Hall, Oranienbaum - 15.00
    “Solo, Pas-de-deux, Pas-de-trois”
    Piano concert
    (Skryabin, Chopin, Rachmaninoff, Oskolkov, Lutoslavsky)
    Tatiana Lelyakova (Bryansk, Russia), Alena Smirnova (Hamburg, Germany) and Sergei Oskolkov

    “Aurora” cinema, Peterhoff - 18.00
    “The Calf”. Film by A. Sokurov
    Leonid Mozgovoy – the leading role actor – a guest of the Festival

    9 June, Saturday

    Stone Hall, Oranienbaum - 15.00
    “Sergei Oskolkov Jr. and his friends”
    The concert of laureates of International contests for youth

    Stone Hall, Oranienbaum - 18.00
    “Counterpoint of Time”
    (Roslavez, Prokofiev, Moniuszko, Mozart, Mendelssohn, Françaix)
    Russian, French and Swiss musicians – Andrei Slavniy (baritone), Claire Moniuszko (piano), Mark Belodubrovsky (violin), Dorotea Gysin-Ninck Dorothea (piano), Adil Fedorov (clarinet), Andrei Bolshianov (clarinet), Alexander Oskolkov (clarinet), Tatiana Zagorovskaya (piano)

    10 June, Sunday

    Stone Hall, Oranienbaum - 15.00
    “NACHTIGALs from Bryansk” - folklore group “Solovushki” and other young musicians from Bryansk
    “Blitz-improvisation”: Polina Runovskaya (soprano) and Nickolay Rubanov (saxophone), Mark Belodubrovsky (violin), Sergei Oskolkov (piano) and everyone wishing to participate

    Stone Hall, Oranienbaum - 18.00
    “…But love is a melody too”
    Closing concert
    (Kornakov, Mozart, Falik, Malashkin, Villa Lobos, Dunaevsky)
    Soloists of Mariincky Opera House, Mussorgsky Ballet and Opera House, Schostakovitch Philharmonic Society of St. Petersburg – Natalia Vlasova (soprano), Andrei Slavny (baritone), Anatoly Timofeev (baritone), Artem Mikaelian (ñorn), Irina Sharapova (piano) and others

    Presenter of all concerts – Olga Vorsina

  • Season Finale: Musical Olympus Festival Opening Concert


    St. Petersburg Chamber Philharmonic
    Jeffery Meyer, conductor


    Rodion Tolmachev, bassoon (Russia)
    Sergey Kolesov, saxophone (Russia)
    Alexandra Popandopulo, soprano (Russia)
    Feng Ning, violin (China)

    The Hermitage Theatre
    Sunday, May 24, 2009, 7 PM


    Beethoven: Coriolan Overture, op.62

    Villa-Lobos: Ciranda das sete notas, A325

    Puccini –“Vissi d'arte” from Tosca
    Tchaikovsky: Liza’s Scene and Arioso from Queen of Spades
    Puccini: “Donde lieta uscì" from La Bohème
    Tchaikovsky: Arioso from Iolanta


    Mozart: Le nozze di Figaro, K.492: Overture

    Lars-Erik Larsson: Saxophone Concerto, Op. 14

    Massenet: Thaïs: Méditation

    Ravel: Tzigane, rapsodie de concert, for Violin & Orchestra

    The St. Petersburg Chamber Philharmonic's first appearance in the Musical Olympus Festival, a festival in step with the St. PCP's mission of promoting up-and-coming musical talent. Hear these international prize-winning young musicians (Hugo Fox International Bassoon Competition in Utah, Stenhammar Competition in Sweden, Adolph Saxophone Competition in Begium and the Paganini Competition in Italy) in the intimate Hermitage theater.


    Firtich Georgiy Ivanovich

    Composer, Russian arts horoned performer, professor of the Russian State Pedagogic University of I. Gertsen, Firtich Georgiy Ivanovich was born in 1938 in Pskov. In 1962 he graduated from the St. Petersburg Conservatory on the composition classes of Y. Balkashin and B. Arapov. Since 1962 he has been a member of the St. Petersburg Union of Composers.

    Since 1994 Firtich has been Chair of the Modern Music Association, a branch of the St. Petersburg Union of Composers. The association unites innovators for not only musical sphere but also painters and theatre workers. The association members are both masters and debutant composers - innovators from different countries. The Modern Music Association attracts everybody who contributes to the progressive ideas in art development, beginning with students of the St. Petersburg Colleges' Departments of Music and up to famous artists.

    G. Firtich is the author of not only academic works. He as well composes music for theatre, cinema and TV. Firtich' music demands sometimes a rather active perception, similar to soul inflamation within it.

    As to his compositions for the variety art, Georgiy Firtich is never the adapter towards the mass public tastes, but tries to bring masses close to the tones of the modern academic music.

    Being a supporter of the musical avant-garde aesthetics, Firtich is skillful in modeling sharp psychological states. Firtich's as an avant-guardist regular object of research is the human condition in its utmost clarifications - from the eloquant illusiveness (his "Elegy" from "The spring Songs" cantatas on V. Khlebnikov verses) up to ecstasy storms similar to a shaman (his quintet-fantasy "Musical therapy", 1999). Firtich fills his musical experssions with fantastic sound and rhythm effects, denying callous conditions and dogmas. The composer creates new things that issue from his particular artistic thought.

    The music of Firtich can be heard in different corners of Russia as well as abroad - in France, Bulgaria, Poland, the Chec Republic, Hungary, Austria, Germany, USA, the UK, Italy, Sweden, Switzerland, Norway.

    Firtich is the author of music to a famous Russian serial cartoon -- "Captain Wrungel Adventures", he is as well the author of music to cinema film: "Golden Calf" (M. Shveitser a producer), " If you want to be happy" (N. Gubenko a producer), "The Take-off Path" (V. Lonskoi a producer), "The Charged with Death" and "For Diabol Transit" (V. Plotnikov a producer).



    Фиртич Георгий Иванович

    Заслуженный деятель искусств России, профессор РГПУ им. А. И. Герцена. Родился 20 октября 1938 года в Пскове, в 1962 г. окончил Ленинградскую консерваторию по классам Ю. Балкашина и Б. Арапова. С 1962 г. - член Союза композиторов Ленинграда.

    С 1994 г. Фиртич возглавляет АСМ (Ассоциацию Современной Музыки) при Союзе композиторов Санкт-Петербурга. АСМ объединяет новаторов не только в сфере музыки, но и в других видах искусства, в том числе художников и театральных деятелей. Членами АСМ являются не только маститые, но и начинающие композиторы-новаторы , представители разных стран. АСМ привлекает всех, кто вносит вклад в развитие прогрессивных идей в искусстве - от студентов музыкальных факультетов петербургских вузов до известных артистов. Г. Фиртич - автор произведений не только в академическом жанре.

    Он пишет также много музыки для театра, кино и ТВ. Музыка Фиртича не только не оставляет равнодушным слушателя, не только требует активного восприятия, но и пробуждает динамическое состояние души, буквально обжигает ее. В своем очень популярном эстрадном творчестве Фиртич никогда не приспосабливается к господствующим вкусам публики, а старается поднять массовое воздействие до уровня тончайших изысков современной академической музыки. Будучи приверженцем эстетики музыкального авангарда, Фиртич умело моделирует в своих произведениях порой самые остропсихологические состояния. Предметом исследования Фиртича-авангардиста является сфера человеческой души в крайних, обостренных ее проявлениях - от возвышенной иллюзорности ("Элегия" из кантаты "Весенние песни" на стихи В. Хлебникова, 1997) до буйств экстаза, подобно шаманскому камланию (Квинтет-фантазия "Музыкальная терапия", 1999). Фиртич насыщает свой музыкальный язык фантастическими звуковыми и ритмическими эффектами, отрицая устоявшиеся догмы и условности. Он создает новое, исходя из своего художественного мышления.

    Музыка Фиртича в исполнении отечественных и зарубежных музыкантов звучит в различных городах России, а также во Франции, Богарии, Польше, Чехии, Венгрии, Австрии, Германии, США, Великобритании, Италии, Швеции, Швейцарии, Норвегии. Автор музыки к популярному мультфильму "Приключения капитана Врунгеля", им также написана музыка к известным художественным кинофильмам "Золотой теленок" (режиссер - М. Швейцер), "Если хочешь быть счастливым" (режиссер - Н. Губенко), "Взлетная полоса" (режиссер - В. Лонской), "Заряженные смертью" и "Транзит для дьявола" (режиссер - В. Плотников).



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  • «ОТ и ДО». Траектории петербургского авангарда.(Part.2)

  • «ОТ и ДО». Траектории петербургского авангарда. (Part.1)


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