Tchaikovsky’s Pathétique

Part of Birmingham International Concert Season 2012/13… more events…

Part of Entertaining Erdington… more events…

Tuesday 21 May

Symphony Hall

Orchestre de la Suisse Romande

Neeme Järvi conductor

Boris Berezovsky piano

Arvo Pärt   Silhouette (Hommage à Gustave Eiffel) 7’
Grieg Piano Concerto 30’
Tchaikovsky   Symphony No 6, Pathétique 45’

Boris Berezovsky’s encore with orchestra – Grieg Piano concerto second movement

Orchestra’s encore – Arvo Pärt – Cantus In Memoriam of Benjamin Britten

The tragic Pathétique was written just months before its composer’s suicide. Neeme Järvi conducts this famous Swiss orchestra in Tchaikovsky’s final testament, preceded by Grieg’s Piano Concerto and Arvo Pärt’s coolly beautiful Silhouette, inspired by the Eiffel Tower’s visionary architect.

Classic FM’s Anne-Marie Minhall, says of tonight’s recommended concert:

Go on and don’t let anything scare you; you’ve got what it takes – Liszt’s words of encouragement for the 26 year-old Grieg, having just played through a draft of the young Norwegian’s Piano Concerto. From that famous dramatic opening flourish to the energetic final movement, it’s easy to understand the enduring appeal of Grieg’s sole concerto.



Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “The main courses were wonderful. Boris Berezovsky’s solo  playing in the Grieg Piano Concerto was so well-integrated as to be almost  unnoticeable (and that is a huge compliment). His reading was questing,  searching, almost improvisatory, and Jarvi’s orchestra responded in kind. Neeme  Jarvi and l’Orchestre de la Suisse Romande are quite a team; I can think of at  least two other partnerships which had better get off their laurels.”




Review by Verity Quaite, BachTrack:

Click here for full review

…     “The arresting opening chords of Grieg’s Piano Concerto in A minor signalled a change in mood, and began even before the applause welcoming soloist Boris Berezovsky to the stage ceased. Immediately captivating, the unassuming Berezovsky looks entirely natural at the piano and delivered an exceptional performance. Sensitive and flexible, Berezovsky flitted between the extravagant dramatism and dreamlike lyricism of the concerto with ease. Supported by an orchestra of responsive musicians, the rapport between soloist and orchestra was evident. A strong horn section and gifted principal flautist overshadowed the single hesitant entry by the orchestra, who, with the understated direction of Järvi, made this a very memorable performance.”     …

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