차이코프스키: 바이올린 협주곡 라장조 Op.35

[풀밭]

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Violin Concerto In D major, Op.35

차이코프스키: 바이올린 협주곡 라장조 Op.35 Pyotr Il'yich Tchaikovsky (1840 - 1893) I. Allegro Moderato - 전악장 연주

Album TiTle: Higdon & Tchaikovsky: Violin Concertos

Tchaikovsky: Violin Concerto in D major, Op. 35  (36:15)
   Common Name: Violin Concerto
   Composer: Pyotr Il'yich Tchaikovsky (1840 - 1893)
   Conductor: Vasily Petrenko
   Performer: Hilary Hahn, violin
   Orchestra: Royal Liverpool Philharmonic Orchestra
   Genre: Concerto / Romantic Period
   Date Written: 1878
   Period: Romantic
   Country: Russia
   Venue: Liverpool, Philharmonic Hall
   Recording Date: 11/2008

 Audio CD (September 21, 2010)
 Release Date : 09/21/2010
 Mono/Stereo : Stereo
 SPAR Code : DDD

Original Release Date: September 21, 2010
Release Date: September 21, 2010
Label: DG Deutsche Grammophon (USA)
Copyright: (C) 2010 Hilary Hahn, under exlusive license to Deutsche Grammophon Gesellschaft mbH
Record Company Required Metadata: Music file contains unique purchase identifier. Learn more.
Total Length: 1:08:09

I. Allegro Moderato II. Canzonetta (Andante) III. Allegro Vivacissimo

19:24 06:23 10:31

Vasily Petrenko

Biography

The 31-year old conductor with ambitions for Liverpool, Ask the average music enthusiast to think of a conductor, and the wizened features of a podium grandee probably come to mind. Yet in recent years a remarkable crop of young - very young - conductors has been engaging audiences with performances of remarkable authority, coupled with the unique flavour of energy and ambition that is the preserve of youth. Vasily Petrenko, the 31-year-old Russian maestro who took over a year ago as principal conductor of the Royal Liverpool Philharmonic Orchestra, is one such figure. The Orchestra's announcement of their new chief was something of a surprise: not only was he young, he was virtually unknown to British audiences. This courageous decision may turn out to be one of the best the RLPO has ever taken.

Petrenko's performances are already being praised for their intensity and intelligence, and not just in the Russian repertoire that will have formed such a solid part of his training - his un-dogmatic approach is as refreshing in Elgar as in Shostakovich.

His debut disc, however, was a Russian double-bill, though a far from obvious first offering: Shostakovich's unfinished one-act opera The Gamblers was paired with Rothschild's Violin. This fascinating piece, another one-act opera, was written by Veniamin Fleishman, Shostakovich's most promising pupil. Devastated by the young composer's death in the Second World War, Shostakovich completed the work himself, and it's possible to date from this project Shostakovich's interest in Jewish music (both Fleishman and the anti-hero of Chekhov's story on which it's based were Jewish). Recorded live at only Petrenko's third appearance with the RLPO since taking over, he leads the musical forces throughout with a glorious sense of affinity with, and affection for, the works. The result was an Editor's Choice in Gramophone's July issue.

So where now for Petrenko? Such has been the success of the partnership that a mere six months into his first season at the RLPO his contract was extended until 2012. He's already proved a thoughtful spokesman on behalf of the recent initiative launched by the UK's eight leading publicly funded orchestras to increase audiences for classical music. Far from living in an ivory tower, in interviews he seems as happy citing The Beatles and Liverpool Football Club as he is discussing classical composers. He talks openly of wanting to emulate Simon Rattle's success in Birmingham and to turn the RLPO into a symbol of Liverpool. Next year sees the city assume the mantle of European Capital of Culture. This should offer him and his ensemble suitably brightly lit exposure to do just that.

Royal Liverpool Philharmonic Orchestra

It's hard to think of a more important job than bringing new audiences to classical music. Of course it's wonderful, and indeed essential, to have the support of the traditional concert-going public but the future of classical music lies with the audiences of tomorrow - and the work of building those audiences begins today.
Fortunately, it's work that is well advanced among the UK's great orchestras. Thanks to their efforts to present their concerts as an attractive and life-enriching experience, the UK's classical audience is bigger and broader than it has been for years.

With so many of our orchestras possessing such energy, vision and inventiveness, the Royal Liverpool Philharmonic Orchestra, winner of the Classic FM Magazine Award for Audience Innovation, must be special indeed. Granted, many of the techniques it employs - family-friendly programming, concessionary tickets, outreach programmes and interactive website - are common to other orchestras. That said, the results - last season's subscription sales up 22 per cent, advance sales for next season up 44 per cent, website traffic up 42 per cent - are impressive.

But what really distinguishes the RLPO from its peers is the scale of its commitment to the local community. Nowhere is this better demonstrated than by its exciting new conductor Vasily Petrenko (this year's Young Artist winner) who has taken the people of Liverpool to his heart. Now, having embedded itself in the cultural fabric of the city, the RLPO has, in one of its most exciting initiatives to date, and the one for which this award is given, streamed its opening concert of the new season on internet community Second Life. Within hours of the announcement of the event, the first ever professional orchestral concert to be performed live within a virtual world, 1000 people had registered to win a ticket to the first performance before the concert was then made available to Second Life's nine million “residents”.

Audience members sat in a 3D virtual version of the RLPO's home venue, Philharmonic Hall, to watch and listen live as the orchestra performed a selection of works conducted by Vasily Petrenko. During the “cyber event” audience members were able, through their Second Life characters, to interact with each other and even buy refreshments. After the concert they met Petrenko, singer Kate Royal and composer Kenneth Hesketh in the bar for a Q&A session.

At a stroke the RLPO has blazed a trail other orchestras may follow and put classical music before a new and potentially massive audience. It's very bold - and it's certainly very innovative.

Hilary Hahn

Hilary Hahn (born November 27, 1979) is an American violinist.

Hahn was born in Lexington, Virginia. Beginning her studies when she was three years old at Baltimore's Peabody Institute, she was admitted to the Curtis Institute of Music in Philadelphia at age ten, and in 1991, made her major orchestral debut with the Baltimore Symphony Orchestra. Hahn signed her first musical recording contract at age sixteen in 1996 with Sony Music. She graduated from the Curtis Institute in May 1999 with a Bachelor of Music degree.

Hahn plays on an 1864 copy of Paganini's 'Cannone' made by Vuillaume. Her main interest is in solo performance; she also performs chamber music.

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