Opera & ballet
  • «Musica viva» will present Mozart’s opera of «Idomeneo»

    «Musica viva» will present Mozart’s opera of «Idomeneo»

    On December, 5th in the Moscow Tschaikovsky Concert hall within the limits of the philharmonic subscription «Opera masterpieces» the Moscow chamber orchestra and chorus «Musica Viva» under the direction of Alexander Rudin will present the concert version of an opera of Mozart of «Idomeneo». It already the fourth opera premiere «Musica Viva», after the past with stunning [...]

Symphony music
  • Simon Rattle and Berlin Philharmonic

    Simon Rattle and Berlin Philharmonic

    The Berlin Brahms Bombers victory tour came to a premature finish Tuesday night. The leader of the Berlin Philharmonic, Simon Rattle, received a hero’s excited welcome. The Second Symphony proved smashing, as had the first night from this inimitable orchestra’s two-evening visit to Walt Disney Concert Hall.

Chamber music
  • Chamber Music Festival Features Professional Performers

    Chamber Music Festival Features Professional Performers

    The Lake Champlain Chamber Music Festival is entertaining audiences in Chittenden County, with most performances at the Elley-Long Music Center in Colchester’s Fort Ethan Allen. Other shows have taken place at the Firehouse Gallery on Church Street. The festival is new this year, and features concerts as well as classes for students. Soovin Kim started the [...]

Instrumental Music
  • Finnish Composer Bursts Some of Her Own Myths

    Finnish Composer Bursts Some of Her Own Myths

    One of the perils of conducting a public interview with a composer is that you are likely to have your deeply held beliefs about your interviewee’s work shrugged off. That happened to the composer George E. Lewis during his interview with Kaija Saariaho during a Composer Portraits concert at the Miller Theater on Sunday evening. Mr. [...]

Vocal art
  • Ekaterina Shcherbachenko – «I live with sensation something new»

    Ekaterina Shcherbachenko – «I live with sensation something new»

    Ekaterina Shcherbachenko, the winner of competition BBC Cardiff Singer of the World 2009 in Cardiff, has arrived to Moscow at 2 o’clock in the morning. And already early in the morning the call was distributed and we have agreed about interview time, this afternoon. Ekaterina knew that Classica.FM, has first informed on its victory, therefore with [...]

  • Ingo Metzmacher – I can’t believe it!

    Ingo Metzmacher – I can’t believe it!

    The well-known maestro, active propagandist of modern music, the one, who all Europe worships – Ingo Metzmacher has visited Moscow. Despite a number of possible difficulties – some heavy days, and, in addition, Friday 13, good luck has smiled to our magazine, and we managed to meet the adherent of modern music world and ask [...]

Editor's Column
  • Stuart Lawson: «Time-proven Pursuit of Excellence»

    The hero of today’s interview is like no other. First, he is not a musician but a banker. But obviously he is not an ordinary banker as we are not a business publication and write only about things related to classical music. Stuart Lawson is CEO of HSBC Russia. The bank has won praise for [...]

Dates of classical music

Stuart Lawson: «Time-proven Pursuit of Excellence»


The hero of today’s interview is like no other. First, he is not a musician but a banker. But obviously he is not an ordinary banker as we are not a business publication and write only about things related to classical music. Stuart Lawson is CEO of HSBC Russia. The bank has won praise for a series of events it organized together with the Gnessin Moscow School of Music – it established a scholarship for the best violinist of the Gnessin School, it organized a series of open-air concerts “By the Nikitsky Gates” and then at the end of January together with the Boris Yeltsin Foundation the “January Nights” festival. And the bank was not just a sponsor, it came up with the initial idea and directly organized the events. It established and awarded the prizes. Furthermore, there was no jury, the winner was picked by a popular vote of the audience. All runner-ups also received prizes. No one was left behind.

Against the backdrop of some dramatic situations, which to a large extent are a reflection of the relationship between business and culture – we will get to them later – such actions appear almost surreal. Where does that fascination with classical music and young musicians come from? That was what we discussed early on Saturday, February 6 on Arbat, in Maly Levshinsky Pereulok, not far from Classica.FM studios, at the home of Oxford graduate and CEO of HSBC Russia Mr Stuart Lawson. Taking part in the meeting were also Evgeny Boyko, chief editor of Classica.FM, Mikhail Khokhlov, professor at the Gnessin School and conductor of the Gnessin Virtuosos orchestra, an interpreter, and obviously our host himself.

Let get one thing straight right from the start to avoid unnecessary speculation – this is no advertising spot. HSBC is not a sponsor of this event. It has never sponsored Classica.FM. Neither side has made any proposal to that effect or discussed any. The interview was initiated exclusively by Classica.FM. As the host, Stuart Lawson spoke first.

Stuart Lawson: Thank you for coming to my place on this Saturday morning. It makes life so much easier. Welcome. Mikhail and I have known each other for 14 years and over this time we have found various ways to cooperate. Maybe I should tell you how we met?

Evgeny Boyko: That would be most interesting.

Stuart Lawson: A long while ago I used to live in Romanov Pereulok, in Molotov’s flat. I had just arrived in Russia and was the head of Citibank. I knew nothing about Russian culture then. In fact, I didn’t know anything about Russia but knew that the Conservatory was somewhere around the corner. Once a week I went there, bought a ticket. Naturally, I didn’t know what was on as all the titles were in Russian. It did not matter as the tickets were not at all expensive and if something was not to my taste I could just leave after the break. But I liked the atmosphere. The children would always sit straight and listen very carefully. They concentrated on the music.

Once I was there with my wife and a friend from Italy. Just another night. A dozen children came onto the stage. They were so small they could hardly carry their instruments. The whole audience held its breath, the musicians raised their teeny violins. I think they played Flight of the Bumblebee…

Mikhail Khokhlov: It was a piece by Prokofiev.

Stuart Lawson: Fast and noisy… I sat and thought it was incredible. And I decided that I had to find their professor. That is how we met. Look how beautiful (points to people clearing snow from the roof of his house). We are talking and there is snow falling behind us. What would you like to talk about?

Evgeny Boyko: Let me now tell you how I got acquainted with your bank – indirectly. I live not far from here – on Arbat. Last summer walking home from the Conservatoire I noticed an open-air stage on Nikitsky Boulevard. As I am the head of a publication dealing with classical music I try to follow what is on. Some young academic musicians were performing. I got interested and asked the organizers what it was all about. It was the “By the Nikitsky Gates” festival – and quite well organized, by the way. There was a modern stage, professional lighting and sound. We wrote about the event as we did not see them so much as an advertising move for the bank but a sincere attempt to help young musicians.

I will explain why it is important. Relations between sponsors and culture are not always easy. Quite often they may be dramatic. I will give you two examples just from the last month. At the end of January took place the 6th Yuri Bashmet Viola Competition. At the press conference the maestro said that three out of four sponsors on the eve of this important international event had reneged on their financial obligations. The competition literally had to be saved and it was only thanks to Bashmet’s reputation that it was held at all. The KIN brandy distillery came to the rescue. At about the same time was scheduled the second Mozart Days in Moscow – a replica of Zalzburg’s Mozartwoche. The first one took place last year. This year’s festival was cancelled literally on the eve of the opening concert as one of the sponsors withdrew. And we are talking about a major international bank with, as it seemed, a reputation to care about. As the competition was held by young musicians who cannot boast Bashmet’s reputation nobody came to their rescue. We supported the festival as media sponsors and took it all to heart.

And on that backdrop we witnessed your flourishing relations with the Gnessin School and decided to solicit this interview. I want to stress that it is a precedent – it is the first interview in the history of our publication with a person not directly related to classical music, someone who is not a musician. And on behalf of my publication I would like to thank you for taking part in the cultural life of the Gnessin School. One does not often see such a sincere and interested attitude.

I want to ask you – why is it classical music and not something else? What is the reason – your personal taste? Or is it the result of some cunning advice you got from your PR-analysts? Or what? (common laughter in the room).

Stuart Lawson: I will tell you straight – not the least! I say it loud and clear – nothing of that kind! (meaning not advice from PR-consultants).

Mikhail Khokhlov: I can prove that.

Stuart Lawson: Let me start by saying that Mikhail is my friend. There was a time when I knew nothing about classical music even though I like it very much. Let me put it this way – for me music played by young children is a window on the Russian soul. I consider myself to be lucky to have the opportunity to be part of it.

Immersing myself, listening to classical music in Russia for me is an opportunity to be part of long-standing traditions. For me as a foreigner, as an outsider it is an opportunity to participate in what is an integral part of Russia’s history and culture, its people. For me it is also a privilege. It takes just one visit to the Bolshoi Theatre, to the Large, Small or Rakhmaninov’s Hall at the Conservatory or the Tchaikovsky Concert Hall to see the people who participate in and promote this historic tradition.

HSBC bank is 145 years old, it is present in 86 countries. But here, in Russia, as a retail bank serving private customers our history dates back only six months. Our bank is a bearer and representative of certain values. For a third year running the HSBC brand was named the most valuable global brand. I think we have achieved that success not just because we operate well as a bank but also because our bank displays such qualities as integrity, commitment to our clients, consistency. All these qualities are present in an orchestra.

That is why what started with our support for the Gnessin School, Mikhail and his team was not accidental. We could have met accidentally but our support was not accidental at all. If you take a closer look at the school, at the children, at Mikhail’s orchestra you will see that their values are the same as our bank’s values. It is a time-proven pursuit of excellence. You obviously know that the Gnessin School is more than 100 years old too. The school, just as Mikhail’s orchestra, strives for constant improvement. If we put it in banker’s language – they try to improve the product they produce. On the other hand they offer something that goes beyond the “value product”. I mean the great Russian musical tradition. When I was thinking who to start a partnership with, to develop them and grow with them, I could not find a better partner than the Gnessin School.

It is also very convenient. When some top managers come over from London and I try to help them understand Russia we just go to a concert. They see these 10-year-olds whose souls fly as they perform. They listen for about 45 minutes and I don’t need to explain anything.

Evgeny Boyko: Does that also imply a special vision of the future?

Stuart Lawson: Children are our future. If we ignore them today there will be no future.

Evgeny Boyko: When I came in I heard Bach’s partitas for solo violin – it is the kind of music that even musically educated people do not listen to that often. There is an instrument in the flat despite you not being a musician. What does classical music mean for you as a European?

Stuart Lawson: First, you have to be careful about me. Over the last 35 years I have lived in 11 different countries. I worked for Citibank for 25 years and every two years I moved to another country. Each time I had to select things that were important and valuable to me. You have to react quickly because if you take too long to sort it out and make up your mind it will be already time to move on.

As I have already said, music – at least as I see it – is a window. Not the only one but one of the windows on the Russian soul. You may not know that I am also a great fan of tango. Because it is also a window onto a certain culture. And when you ask me what classical music means for a European… You are directing your question at a man who spends a lot of time on the move.

For me it is an opportunity to get involved with what is essential for a country, go one step deeper than those who are not interested in it. You just have to go to one of those marvelous concerts at the Conservatory, take your mind off the musicians and look at the audience. You will see it in their eyes. You will see how they absorb music.

Evgeny Boyko: In Russia the responsibility of business to culture is low – it is either PR or a social burden – but not something that is a must. Culture and business – how do you view the relationship between them? How are you building it?

Stuart Lawson: For us it is sponsorship of a musical collective, an annual event to which we invite all our clients. They do not always come because they like classical music and understand the values of what the bank offers but a majority of our clients are true lovers and connoisseurs of art. At the same time we are not a charitable foundation, we are a business. But one of our objectives is in our slogan – The World’s Local Bank. We strive to make our presence in a country comfortable for us and our clients. We must live in the society, in the country where we do business. In that sense the partnership with the Gnessin School promotes awareness of our brand and is to a certain extent our distinctive feature. Music represents what we would like to achieve in our business.

Evgeny Boyko: It is a very nice thing to hear. And quite surprising. We are very glad that we have such a responsible bank, which is not indifferent to classical music and keen to work with children.

Мikhail Khokhlov: I want to say that the bank’s commitment to our students is very highly appreciated at our school. What has been made already is an important contribution. Nevertheless, judging from the answers that we heard today it is not a PR stunt but a move to naturally enter the process of civilized interaction between culture and a financial institution, which wants to feel here at home.

One would be hard pressed to trust a bank, which feels at home somewhere but does not care about problems in that home. In that sense what HSBC is doing is not only what the bank wants to be but what it is becoming.

Evgeny Boyko: I would like to thank you all for taking part in the interview. On behalf of our readers I would like to thank Mr Stuart Lawson and Mikhail Khokhlov for what they are doing to promote the performance of classical music in Russia.

Moscow, February 6, 2010.

Russian composer files a response to Charles Ives

Russian composer files a response to Charles Ives

When american composer Charles Ives (1874-1954) composed a piece he called «The Unanswered Question» in 1906, he couldn’t have dreamed that a Russian composer born in Leningrad (now St. Petersburg) in 1953, would, if not quite «answer» his question, at least posit a tantalizing musical meditation on it more than a century later.

This new piece, called «Post-scriptum» by its composer, Victor Kissine, will receive its world premiere with the San Francisco Symphony, conducted by Michael Tilson Thomas, in concerts scheduled for 8 p.m. March 4, 5, and 6 and 2 p.m. March 7 at Davies Symphony Hall, 201 Van Ness Ave., San Francisco.

Kissine — who makes his home in Belgium, where he is a professor of music at two important conservatories — writes that he was a student at the Leningrad Conservatory when he first discovered Ives’ piece. Considering it a «revelation», he assiduously studied the details of its score, noting that Ives used a trumpet to repeatedly intone his so-called «Perennial Question of Existence». The piece continues, as a series of other instruments offer comments on his question but cannot «answer» it. In his «Post-Scriptum», Kissine engages a series of five sounds, each of which evolves into either a major or minor pitch interval of a third to deal with «the question». During our recent e-mail exchange, I asked Kissine if, in his judgment, an average listener would consider his music in general, and «Post-Scriptum» in particular, to be «beautiful», «pleasing», «interesting» or «shocking» following a first hearing.

He replied, «If the listener finds my music ‘beautiful,’ I’d be overjoyed. I have nothing against ‘pleasing’ or ‘interesting,’ but if he is ‘shocked,’ I’d be disappointed, because this wasn’t my intention at all». Kissine has written a great deal of film music, as well as chamber and orchestral music. However, his approach to composition departs significantly from the assertive, agitated, often ear-grating styles issuing from the fin de siecle era at the beginning of the 20th century.

He explains that his musical language expands to include elements of classical Western-style tonality, 20th-century atonality, minimalism, aleatory sounds and 12-tone techniques, adding that he also uses micro-intervals (notes that fall «between the cracks» of notes on the piano). Further elaborating on his style, he wrote that beyond the four basic parameters of music — duration, pitch level, intensity and timbre — there is yet another: Silence, which he uses to great effect in his compositions.

«Silence», he says, «does not stop the music. It’s part of the music. It’s the flip side of music. Sound without silence wouldn’t exist». In his e-mail, Kissine asserted that he can’t imagine being anything other than a musician and composer. “I started music when I was 5,” he wrote. “So, it was the first language I learned to read. And, the first score I sight-read by myself was ‘Sonata quasi una Fantasia,’ Op. 27, No. 2 by Beethoven (the famous “Moonlight Sonata”). I remember having had enormous problems with the left-hand octaves».

Because his family lived near the Philharmonic Hall in Leningrad, he was taken to musical performances from a very early age. «I especially remember a recital by Sviatoslav Richter which made a great impression me», he wrote. «He was playing ‘my’ Beethoven sonata»! Kissine, father of two and grandfather to a 4-year-old, is a citizen of Belgium, living with his wife in Court-Saint-Etienne, a suburb of Brussels.

Other works scheduled for the S.F. Symphony’s March 4-7 program will be Ravel’s «Valses nobles et sentimentales», Liszt’s «Tasso: Lament and Triumph» and the unabashedly exultant Violin Concerto by another great Russian composer, Peter Tchaikovsky. Its soloist will be Christian Tetzlaff, prizewinning German violinist, who also performs the work with the symphony during its mid-March national tour.

Nobel Prize Concert Classical Music

Nobel Prize Concert Classical Music

Nobel Media, in association with the Stockholm Concert Hall, is proud to present this year’s Nobel Prize Concert – an event of world class stature. The concert is to take place on 8 December as part of the official Nobel Week programme of activities. Tickets will be released to the general public on Friday 29 May.

Stockholm Concert HallMartha Argerich, headstrong, charismatic and technically brilliant pianist, is this year’s soloist at the Nobel Prize Concert. Yuri Temirkanov, Music Director and Principal Conductor for the Saint Petersburg Philharmonic will be leading the Royal Stockholm Philharmonic Orchestra. The programme comprises Ravel’s Piano Concerto in G major and Prokoviev’s Suite from Romeo and Juliet.

Martha Argerich was born in Buenos Aires in 1941, and had her performing debut at the tender age of eight. Her breakthrough came in 1965, when she won the prestigious Chopin Competition in Warsaw. She has worked with most of the world’s leading conductors, and her repertoire includes Bach, Schumann, Liszt, Debussy, Ravel, Bartók and Prokoviev.

Ms Argerich is passionate about supporting young talent. The year 1999 saw the first International Martha Argerich Piano Contest in Buenos Aires, a competition that she founded and of which she is now the chief judge. She has also instituted the Martha Argerich Music Festival in Japan, with concerts and masterclasses.
The Nobel Prize Concert is held to honour the year’s Nobel Laureates, who attend with their respective parties. Also present are members of the Swedish Royal Family and guests of the Nobel Foundation.

The TV broadcast of the Nobel Prize Concert will be produced by EuroArts and distributed internationally. In Sweden the concert will be broadcast by SVT. The Nobel Prize Concert is sponsored by DnB NOR and Statkraft.

For further information contact:
Camilla Hyltén-Cavallius, CEO Nobel Media +46 (0)8-663 14 83 or +46 (0)70-524 57 70
Stefan Forsberg, CEO Stockholm Concert Hall +46 (0)8-786 02 20 or +46 (0)70-786 02 50

Dallas Symphony Orchestra – «Alexander Nevsky»

Dallas Symphony Orchestra – «Alexander Nevsky»

Sounds that kept provoking smells and colors: Thursday was synesthesia night at the Dallas Symphony Orchestra. Prokofiev’s cantata based on his score for the film Alexander Nevsky took pride of place on conductor Jaap van Zweden’s enterprising program. Before intermission, he typically plugged gaps in the orchestra’s repertoire.

Alexander NevskyWolfgang Rihm currently bears the flag for German modernism and post-modernism. Memoria marked his Dallas Symphony debut – an American premiere and indeed only the third performance of the work anywhere. Like Stravinsky’s late Requiem Canticles, it offers shards of a formal lamentation – in this case for chorus, two soloists and an odd assortment of orchestral personnel. The chorus sometimes hummed and shouted. Offstage batteries of percussion made a furious clamor. I loved the work’s quirky solemnity, and the audience gave it a surprisingly enthusiastic welcome.

One of the orchestra’s own stars, Christopher Adkins, then got his moment in the sun with Haydn’s Cello Concerto in C Major. Lost until 1961, the piece is one of the few Haydn concertos that suggest his preeminence as a composer. Thank goodness van Zweden is making up for all the years the Dallas Symphony neglected his genius.

The sweet richness of Adkins’ tone, closely matched by the orchestral strings, evoked vocabulary you’d associate with tasting dessert wines: I detected overtones of honey, vanilla and tobacco. The cellist’s extended family has been active on the local early music scene, so I was surprised by the frankly romantic, though not self-indulgent, approach here.

The great filmmaker Sergei Eisenstein was fulfilling a commission to prepare the Soviet public for the approaching World War II in Alexander Nevsky. Prokofiev’s soundtrack is inseparable from the images of medieval knights – good Russians, bad Germans – who battle onscreen. The cantata the composer arranged from the score made a great pairing with Rihm’s memorial to the dead of that same war.

Van Zweden seemed to be hurling gobs of paint onto a mighty canvas as he led the piece. The winds produced pungent, saturated colors, underpinned by tubas and contrabassoon, while the pitched percussion overlaid the picture with enamel splashes. Violins shaped delicate transitions between the climaxes piled on climaxes.

The huge Dallas Symphony Chorus blazed brightly when individual sections could revel in exposed lines. All together, the sound could be muddy. Prepared by interim director Terry Price, the chorus managed a convincing attempt at the language, even if the basses lacked that sepulchral low end of their Russian counterparts. Mezzo Gigi Velasco-Mitchell proved a wonderful alternative to the beefy Slavic contraltos we usually hear in the solo. Her singing was as elegant as it was earthy, confirming the excellent impression she (and treble Bryan Leines) had made in the Rihm.

Dallas News

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