Beethoven’s Fourth

Wednesday 28th September, 2016, 7.30pm

City of Birmingham Symphony Orchestra


  • Wagner Tannhäuser: Overture and Venusberg Music , 24′
  • Sibelius Violin Concerto , 31′
  • Beethoven Symphony No. 4, 32′

Jack Liebeck’s encore – Francisco Tarrega – Memories of the Alhambra

At the court of the goddess Venus a young poet enjoys pleasures beyond his wildest imaginings. Finland’s greatest composer relives his childhood dreams of being a great violinist. And Beethoven cuts loose in the brightest, lightest symphony he ever wrote. It’s all about the stories: and violinist Jack Liebeck and former Opera North music director Richard Farnes know exactly how to make them spring, tingling, into life.


Review by Norman Stinchcombe, Birmingham Post:

Click here for full review

 …     “Once conductor Richard Farnes unleashed the fortissimo chords that send the movement roaring on its way there was a vast improvement. Basses ground away gruffly, the upper strings soared and suddenly the music began to resemble the composer Robert Simpson’s description of its “compact supple movement” and “dangerous lithe economy.”

The danger lurked just below the slow movement’s seemingly placid surface while on top Oliver Janes’ lovely clarinet sang mournfully. The scherzo’s manic energy was infectious while Farnes and the players clearly relished the finale’s Haydnesque high jinks. Similarly, the performance of the Overture and Venusberg Music from Tannhäuser impressed most in the extrovert passages where the percussion section excelled – castanets in Wagner!

It’s the fashion now for many soloists, seeking to make an instant impact during their entry in Sibelius’s violin concerto, to play it barely audibly in an attempt at making it ethereal.

Jack Liebeck played it straight and mezzo-forte just as the composer requested and this set the pattern for a strong, sinewy performance which didn’t try to make the work more “poetic” than it is. ”     …


Review by Richard Ely, Bachtrack:

Click here for full review

…     “By contrast, Farnes’ stately canter through Beethoven’s Fourth Symphony almost did. This was a winning performance with the right kind of attention paid to balance and dynamics and the orchestra, for the first and only time this evening not seeming hemmed in by the sense of properness that had afflicted the earlier items. Described by Robert Schumann as a “slender Greek maiden” (between the Nordic giants of the Third and Fifth symphonies), this is a work that can struggle to make an impact because it lacks the assertive character of its immediate neighbours. Farnes didn’t seek to make apologies for the Fourth’s ‘small scale’ character in a reading that balanced the darker elements that hang over the opening moments with the lighter ones that overtake them as the work progresses. The acceleration into the Allegro vivace of the first movement was expertly handled and there was a glowing account of the Adagio as well as an ideally contrasted repetition of the Trio section in the Scherzo.  ”     …



Sibelius’ Second

Thursday 16 June, 2.15pm

City of Birmingham Symphony Orchestra


  • Beethoven  Egmont Overture , 8′
  • Elgar  Cello Concerto, 30′
  • Sibelius  Symphony No. 2, 44′

A cello cries out in sorrow, the woodwinds sigh, and, like mist on an autumn river, a quiet melody drifts into the evening sky. Elgar’s Cello Concerto is one of those pieces that touches everyone’s soul, and the wonderful Pieter Wispelwey will wring out every drop of poetry, in a concert that begins with Beethoven’s heroic Egmont overture and ends with Sibelius’s sweeping symphonic portrait of a nation awakening to freedom.


Review by Katherine Dixson, BachTrack:

Click here for full review

…        “Pieter Wispelwey’s interpretation seemed relatively laid-back in relation to these underlying intense feelings but it was a pleasure to listen to, as well as to see him interacting with the orchestra. There was good rapport and a strong sense of dialogue and empathy, with soloist frequently smiling at the leader and conductor, and dance-like head movements while listening to orchestral passages. The warmth and depth of tone he conjured from his instrument were a delight, whether in the strong, resonant chords that frame the whole piece or in phrases that demanded a lightness of touch.

The middle section of the first movement has the solo instrument singing above full strings with a heart-tugging lyrical swaying that brought to mind an undulating climb in the Malvern Hills. The second scherzo movement was dramatic and captivating, Wispelwey demonstrating virtuosic speed, followed by lovely arcing phrases and careful placing of notes in the plaintive Adagio. The finale gave scope for flashes and flourishes of drama from the whole orchestra, with an almost combative feel between them and the soloist, before once again altering pace, the mournful closing chords handled with finesse and eliciting an enthusiastic audience response.

The second half gave us the sunny side of Sibelius, with his Symphony no. 2 in D major, Op.43. It has something of a southern feeling, an atmosphere of warmth, since it was inspired and partly written during a visit to Italy. The lilting melody in the first movement on poised, singing violins transitions to attention-grabbing pizzicato then luxuriates once more in legato playing. Interjections from woodwind, as it were passing the baton between sections, provided a fine example of the visual building of texture, once again underlining the value of witnessing live music. A Don Juan-inspired theme in the second movement introduced a sense of menace, with pizzicato lower strings and skilfully handled timpani in the background, almost imperceptible at first then growing.

The third movement’s multiple moods elicited nuggets of tempo change and well handled pauses. The triumphant ending, by contrast, was a master class in sustained speed – an astonishing feat of sheer physicality on the part of the strings. It made one’s arms ache just to watch them!”


Become Ocean

Symphony Hall, Birmingham

Thursday 19th May, 2016, 7:30pm

City of Birmingham Symphony Orchestra


  • Sibelius  The Tempest – Prelude , 7′
  • Ravel  Piano Concerto in G major , 21′
  • Sibelius  The Oceanides, Op. 73 , 9′
  • Ravel  Piano Concerto for the left hand , 19′
  • John Luther Adams  Become Ocean (UK premiere), 42′

Steven Osborne’s encore – Ravel – Oiseaux Tristes from MiroirsIt’s been called “the loveliest apocalypse in musical history” and John Luther Adams’ haunting, Pulitzer Prize-winning Become Ocean is fast becoming one of this decade’s most talked-about pieces of new classical music. We’re thrilled to be giving the first UK performance, with the conductor who gave its world premiere. Be there as we make history, in a concert that also features master-pianist Steven Osborne in both of Ravel’s magical concertos.

CBSO+ 6.15pm Hear CBSO Chief Executive Stephen Maddock talk about tonight’s programme.


Review by Andrew Clements, Guardian:

Click here for full review

…     “For 40 years now, Adams’ work as a composer has been inextricably linked with his involvement in environmental issues, but Become Ocean is the biggest, most overwhelming expression of those concerns so far. The score bears his stark epigraph: “Life on this earth first emerged from the sea. As the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.”

Yet the music itself is anything but stark or bleak. It’s rich, deeply textured and all-encompassing, and the three massive climaxes that articulate the huge span – moments when the pulsing sequences that Adams assigns to his groups of strings, woodwind and brass come exactly into phase – seem more celebratory than apocalyptic. The presence of the musical processes underpinning this glorious, constantly changing stasis is impossible to ignore – there are precisely planned symmetries everywhere, and the work itself is one gigantic palindrome – but the orchestral beauties and the tonal harmonies never seem contrived.”     …



Review by Richard Whitehouse, ClassicalSource:

Click here for full review

…     “All credit to the CBSO for enabling Ludovic Morlot (who gave the premiere in Seattle almost two years ago) to schedule a piece that justifiably won the 2014 Pulitzer Prize for Music, and deserves its place within the (not too crowded) orchestral repertoire of the early-21st century. The performance left little to be desired, not least because this is music ideally suited to the acoustic of Symphony Hall – filling the auditorium to a degree that even a ‘surround sound’ recording would be hard-pressed to emulate. Rarely have 42 minutes proved so immersive.

 The hour-long first half was almost a concert in itself. Continuing his exploration of Ravel, Steven Osborne played both Piano Concertos – (rightly) tackling the G-major first and getting to the heart of the opening movement as it alternates between brittle humour and bluesy longing. The Adagio was hardly less impressive, Osborne setting off with a discreet purposefulness that Morlot picked up on to ideal accord, and if the Presto felt at all calculated, its interplay of ingenuity and nonchalance held good through to the brusque closing gesture.

Even finer overall was the Left-Hand Piano Concerto, its three-movements-in-one format seamlessly and cumulatively negotiated so that intensity never flagged. Nor was Osborne fazed by its conception, playing with a clarity and definition as did not preclude a searching eloquence in the limpid theme whose heightened return in the coda crystallizes the expressive depth of this work overall. Morlot secured orchestral playing of real impact, while Osborne returned for an ‘Oiseaux tristes’ (second piece from Miroirs) interpreted with ineffable poise.

Each Concerto was prefaced with music by Sibelius. It is surprising the ‘Prelude’ from his music for The Tempest does not regularly open proceedings, given its surging impetus and sense of imminent catastrophe – both vividly conveyed here – make for a curtain-raiser like no other. If The Oceanides felt a little impassive near the outset, its swirling textures merged effortlessly towards the climax – a double helix of giddying immensity prior to the pensive close. Such evocations of immutable forces added cohesion to an already impressive concert.”    


Review by Richard Ely, BachTrack:

Click here for full review

…     “The concertos apart, these works are not often programmed, so it was good to have a such a convenient ‘hook’ to hang them on. The Tempest, composed by Sibelius for a production of Shakespeare’s play, takes the form of a series of orchestral crescendos, replicating the rages of a storm at sea which finally subsides, exhausted. All sections of the orchestra enjoyed themselves in creating what could, in less assured hands, have been a shapeless cacaphony. Daringly, that first production substituted Sibelius’ work for Shakespeare’s introductory scene, which describes a shipwreck. On balance, and in a convincing performance like this one, I think Sibelius makes the point more eloquently than the Bard, even if this is one of the Finnish master’s minor works.

The same composer’s The Oceanides is a major work, though one seldom heard in the concert hall, so it was a pleasure to encounter a performance as auspicious as this. Beginning with a vivid impression of clearing mists, superbly played by violins and timpani, the piece progressed through other lifelike impressions of birdsong and the push of the sea to the central section, leading to the orchestral climax and the ‘appearance’ of the Oceanides – daughters of the sea god, Neptune. This was a wonderfully spotlit moment, before the piece settled back into the troubled stillness of the sea after a very different storm to the one that blew through The Tempest.

Since the programme placed the Sibelius works adjacent to the Ravel concertos, we were better able to appreciate the contrasting sound worlds of these two contemporaries, with the weighty orchestrations of the Finn meeting the pellucid textures of the Frenchman. They may not be the most searching works for piano and orchestra but they have an elusive charm, stopping just the right side of whimsy, that quickly gains and holds the attention if you’re in the mood. Perhaps the shift in mood required was too extreme, but in these performances by the increasingly impressive Steven Osborne, it was impossible not to surrender to Ravel’s introverted milieu, where even the ‘jolly little tune’ that kicks off the G major concerto has an air of abstraction hinting that tears are never far away. Although real depth of feeling threatens to intrude in the Adagio assai, the jazz-derived rhythms of the outer movements preclude too much introspection and the work finishes leaving the listener agreeably puzzled. As so often with Ravel, ambiguity is the key and Osborne had the measure of the solo part, which he despatched with unshowy virtuosity. Here and in the left-hand concerto, he showed himself to be a master of Ravel’s diffident art, as he did in a penetrating encore of Oiseaux tristes.”     …


Review by Rebecca Franks, The Times (££):

Click here for full review (££)

…      “Steven Osborne was the truly superlative soloist: refined, direct, intelligent and instinctive. Every note was exactly in its place; the music sparkled and flowed. Glossy strings brought Hollywood glamour to the Left Hand Concerto, while the G major Concerto was a sunny riot of colourful detail.

And then it was the UK premiere of Become Ocean, Adams’s 42-minute, Pulitzer prize-winning orchestral soundscape. It is, explained Morlot, a meditation to be experienced rather than heard. I put away my notebook and let the music take over. Imagine staring at the ocean, noticing the surface ripples, then the short chop of waves, the roll of the swell, and – if you sit there long enough – the powerful pull of the tides. That’s what Adams translates into music; despite its meticulous construction there’s a complete lack of artifice. This isn’t music that “goes” anywhere, yet it is profoundly transformative. The ocean rises and falls. We sit and observe. My neighbour walked out, visibly riled. But I loved it.”


(fab) Blog Post by Dave Fawbert, ShortList:

Click here for full post

…     “Imagine this popping up on your Facebook page.

Become Ocean


Just look at it. It’s absolutely ridiculous. It looks like a sea of worker ants hauling miniature bridges across a page. And then you read the accompanying comment – it goes on for 42 minutes? There’s nearly 18,000 notes? What the hell is this piece? How would you go about composing such a thing? How on earth would you play it?

I had to hear it.     […]


It was utterly glorious.

City of Birmingham Symphony Orchestra

The City of Birmingham Symphony Orchestra, shortly before beginning the piece

The orchestra was split into three sections: full-sized strings, woodwind and brass with each given slowly-moving passages of sound which rise and fall at different paces, while Ben’s piano, a celesta and several percussionists maintained the constant, underlying rippling effect, without pause. At three points in the performance, the peaks coincided. As a bonus trick, the entire piece was palindromic – so 21 minutes in, the whole thing was played in reverse.

It was staggeringly beautiful. As someone who has only dabbled in the ambient genre, this, to my limited knowledge, seemed to evoke the feelings of the very best: the gentle waves of sound of Jonsi & Alex’s Riceboy Sleeps, the patience of Brian Eno’s Ambient 1: Music For Airports and – I realise this is slightly specific – a constant reminder of the feel of the beautiful horn section toward the end of DJ Shadow’s Stem/Long Stem (the section around six minutes in).

It was surprisingly consonant: notes moved around but never clashed. Suspensions were left hanging gorgeously as other notes slowly moved to join them, never rushing. The passages unwound at a slow pace, yet Ben’s piano and his xylophone friends either side maintained a constant feeling of movement.

Fascinatingly, you would never have guessed the palindromic nature of the piece; the second half felt new and different. Moreover, for a piece 42 minutes long, it was over in what seemed a flash. Truly, this was transcendental stuff.

Afterwards, I asked Ben – fresh from playing 18,000 notes in 2,500 seconds (that’s a constant 7.2 notes per second, maths fans) – if it would be performed again soon. Sadly, due to the rather niche nature of the piece, he replied that it was unlikely.

What a shame. For I’m telling you now: they should put this stuff on the NHS. Forget Prozac, this is the only high you need in your life.”     …

Schumann’s Piano Concerto

Sunday 10th January, 2016, 3.00pm

City of Birmingham Symphony Orchestra


  • Debussy Prélude à l’après-midi d’un faune, 10′
  • Schumann Piano Concerto, 31′
  • Sibelius  Lemminkäinen Suite, 50′

Beatrice Rana’s encore – Schumann trans. Liszt – Widmung
We may be in the depths of winter, but these three romantic narratives by composers barely into their thirties should warm the hardest of hearts. Debussy’s faun and Sibelius’s hero are the stuff of legend, their unrequited love expressed in music that is by turns languid, passionate and thrilling. Schumann’s feelings for Clara were only too real, and had been strongly opposed by her father: but once they were finally married, he poured his feelings into this gorgeous concerto. To perform these three youthful masterpieces we are joined by two outstanding young artists: a superb pianist and a conductor who caused quite a stir on her UK debut with the CBSO last summer.
Has CBSO finally found its next Music Director,
article/ review by Christopher Morley, Birmingham Post :
Click here for full article
…     “So on the second Sunday in January Mirga reappeared, conducting a programme which put so many skills to the test: phrasing with a flexibility which allowed orchestral soloists to make telling contributions, collaborating with a young pianist in one of the world’s best-known concertos (and one not without its pitfalls), and making sense of the jagged structures and kaleidoscopic colours of a gritty large-scale work.She triumphed spectacularly, to huge audience acclaim (and it was a nice bonus to hear the measured clarity of her speaking voice as she informed us of a change in movement-order), and the players seemed highly enthused, too.It helps that she so obviously enjoys conducting, relishing the partnership she shares with her colleagues. It was charming to see her beaming and silently applauding the delivery of important solos, and to see her beaming with pleasure as every effect came off successfully.”      …
Review by Richard Bratby, ArtsDesk:
Click here for full review
…     “What Gražinytė-Tyla achieved, then, was all the more remarkable. Her ultra-precise beat and balletic podium manner have attracted unfavourable comment from people who fundamentally misunderstand how an orchestra responds to a conductor – or who simply can’t listen. That Gražinytė-Tyla has a distinctive vision – and the power to realise it – was obvious from the rapturous opening bars of Debussy’s Prélude à l’après-midi d’un faune in which she coaxed the strings to match both the colour and texture of Marie-Christine Zupancic’s daringly-soft opening flute solo, and went on to generate an unfolding sense of wonder in which even the rests felt like part of the phrasing: hanging, pregnant with expression, in a breathlessly quiet Symphony Hall.
Sibelius’s four Lemminkäinen Legends made good on the Debussy’s promise. Gražinytė-Tyla has a powerful sense of the single culminating point of a large-scale musical structure, and the idea that these four tone-poems add up to a thinly-disguised symphony has rarely felt so convincing, with Gražinytė-Tyla reversing the conventional order of the two central pieces so that Lemminkäinen in Tuonela became a slow, macabre scherzo, and the dying notes of The Swan of Tuonela served as a sort of prelude to the first drumbeats of Lemminkäinen’s Homecoming. Throughout, Gražinytė-Tyla drew out and relished each fantastical detail of Sibelius’s scoring: snare-drum rattling against a pianissimo rustle of violins, the gurgling woodwind laughter of the maidens of Saari, and the impressionistic blur of sound that introduced Rachael Pankhurst’s tender, improvisatory cor anglais solo in The Swan of Tuonela.
And yet the pacing remained taut, the cumulative build-up and release of energy overwhelming – and the players, leaning into their stands and exchanging discreet smiles, seemed energised.”     …
.Review by Hedy Mühleck, BachTrack:

Click here for full review

…     “She allowed complete freedom in the  wide, soft opening flute lines of Debussy’s Prélude à l’après-midi d’un faune , and moulded the CBSO with elegant movements not unlike those of a dancer. She established an atmosphere of great calm without losing the sense of underlying excited tension and shimmering of heat.

23-year-old pianist Beatrice Rana completed the line-up and seemed ideal casting for Schumann’s only completed piano concerto that had been written for – and championed by – Schumann’s wife Clara. While the opening call to attention and the following lines were slightly blurred by a lot of pedal, her playing was remarkably unobtrusive, her movements minimal and modest, her phrasing clear. Supported by a softer orchestral tone with strong emotional focus, she floated through the first movement with only the briefest instance of rush when an immense distance on the keyboard just could not be travelled safely without use of a small rubato.

She brought out the sweeping upwards lines in the Allegro vivace with a round, full-bodied sound despite distinctly unpretentious playing. It drew all strength of stroke from her fingers and wrists, supported by the forearms; hardly ever did she use the full arm, let alone body for emphasis, gestures remained small, the wrists only lifting slightly to breathe. Minor ensemble issues where the melodic line appears in the orchestra and, in ornamented form, in the piano, were quickly caught and made for a stirring close, complemented by an equally wonderful encore, Liszt’s transcription of Schumann’s Widmung.”     …


Review by Andrew Clements, Guardian:

Click here for full review

…     “Mirga Gražinytė-Tyla is a 29-year-old Lithuanian, who is currently assistant conductor of the Los Angeles Philharmonic. She conducted the CBSO for the first time last July, and made such an impression with the orchestra and the audience that she was invited back for this specially arranged concert.

It was easy to understand why she has gone down so well in Birmingham. Her platform style is certainly distinctive: Gražinytė-Tyla began with Debussy’s Prélude à l’Après-Midi d’un Faune, applying the dabs of orchestral colour with sharp stabs of her baton, and sculpting the larger shapes of the music with sweeping gestures. But for once such balletic poses really did communicate something wonderfully alive and detailed to the players, a performance with fresh, clear textures and an unswerving sense of shape.

In Sibelius’s Lemminkäinen Suite, too, there was that same attention to every morsel of detail, and the same knack of moulding each of the four movements into a convincing dramatic shape, even in the opening Lemminkäinen and the Maidens of Saari, which can seem rather unruly. The last movement was built to a terrific climax, too, after she had favoured the alternative ordering for the middle two movements, with the Swan of Tuonela third in the sequence, though that hardly helps the narrative that underpins Sibelius’s scheme.”     …


Review by John Quinn, SeenandHeard, MusicWeb:

Click here for full review

…     “Ms Gražinytė-Tyla reversed the order of the middle two movements, as printed in the programme, so that we heard The Swan of Tuonela third. She may be quite slight of stature but there was no doubting her command in this performance of the Legends. In fact, though the preceding works had shown her in an impressive light I think it was in the Sibelius that she truly came into her own.    

There was conviction and colour aplenty in Lemminkäinen and the Maidens of Saari. The atmosphere of the piece was very well conveyed in an exciting and sometimes powerful performance.  Lemminkäinen in Tuonela is the most dramatic of the four pieces and Ms Gražinytė-Tyla established in the opening bars a high degree of tension which was never lost. I thought this was a gripping performance, especially during the last few minutes, and it seemed to me that both conductor and orchestra displayed a strong understanding of the composer’s sound world. The opening of The Swan of Tuonela was bleak and doleful; Rachel Pankhurst’s cor anglais solos were keening and expressive. The playing of everyone involved in this movement was concentrated and highly controlled. This was eloquent music-making. In Lemminkäinen’s Return his mother has found his slain body and restores him to life, enabling him to ride home in triumph. From the start this performance had terrific drive and energy. The CBSO’s playing was colourful and rhythmically strong, urged on by their highly animated young conductor. Lemminkäinen came home triumphantly.

This was a terrific concert containing three highly contrasted, expertly delivered performances. Musically, each performance was extremely satisfying. On this evidence Mirga Gražinytė-Tyla is already a highly accomplished conductor who genuinely has something to say about the music she conducts. It seemed to me that the CBSO responded very positively to her. Who knows how the process of the selection of the CBSO’s new principal conductor will pan out? But whatever the outcome I hope we shall see much more of this exciting young conducting talent in Birmingham. 




Baiba Skride: Tchaikovsky

Wednesday 16th December, 7.30pm


City of Birmingham Symphony Orchestra


  • Rimsky-Korsakov The Snow Maiden – Suite, 12′
  • Tchaikovsky  Violin Concerto, 34′
  • Sibelius  Symphony No. 1 , 38′

Baiba Skride’s encore – Erwin Schuloff –

Our artist in residence Baiba Skride has been compared to the legendary violinists of the past, and critics reach for words like “transcendent”, “mesmerising” and “unparalleled” to describe her playing. But here in Birmingham, we’ve long since taken this schoolfriend of Andris Nelsons to our hearts. In partnership with Andrew Litton, her performance of Tchaikovsky’s ever-popular Violin Concerto will make a gloriously sunny upbeat to Sibelius’s powerful First Symphony.

CBSO+ 6.15pm 15-16 Artist in Residence Baiba Skride talks to CBSO Chief Executive Stephen Maddock.


Be Uplifted this Christmas!

Vladimir Ashkenazy Conducts Rachmaninov’s Symphony No. 2

Part of Birmingham International Concert Season 2015/16 Concert Package,
SoundBite and Birmingham International Concert Season 2015/16

Tuesday 3rd November, 7:30pm

Symphony Hall

Philharmonia Orchestra
Vladimir Ashkenazy conductor
International Fryderyk Chopin Piano Competition winner Seong-Jin Cho piano

Sibelius Valse Triste 6’
Chopin Piano Concerto No 1
Rachmaninov Symphony No 2 60’

.Seong-Jin Cho’s encore – Chopin –

Ashkenazy and Rachmaninov – need we say more? Few conductors know how to make Rachmaninov’s melodies sing like Ashkenazy does, or have a more intimate understanding of what makes a top pianist tick.

Expect a near-definitive performance of Rachmaninov’s most romantic symphony, and the finest possible introduction to the winner of this year’s International Fryderyk Chopin Piano Competition.

About the winner:

Born on 28 May 1994, in Seoul, Seong-Jin Cho is a student of Michel Beroff at the Paris Conservatoire. He has won the International Fryderyk Chopin Competition for Young Pianists (2008) and a piano competition in Hamamatsu, Japan (2009), as well as Third Prize in the Pyotr Tchaikovsky Competition in Russia (2011) and the Arthur Rubinstein in Tel Aviv (2014). He has performed in concert with the Mariinsky Theatre Symphony Orchestra (cond. Valery Gergiev), the French Radio, Czech, Seoul (all with Myung-Whun Chung), Munich (cond. Lorin Maazel) and Ural (cond. Dmitry Liss) philharmonic orchestras, Berlin Radio Orchestra (cond. Marek Janowski), Russian National Orchestra (cond. Mikhail Pletnev) and Basel Symphony Orchestra (cond. Pletnev). He has toured Japan, Germany, France, Russia, Poland, Israel, China and the US. He has appeared at the Tokyo Opera, in Osaka, at the Moscow Conservatory and at the Mariinsky Theatre in St Petersburg, including with recitals. He has participated in numerous European festivals, including in St Petersburg, Moscow, Duszniki-Zdrój and Cracow, as well as festivals in New York and Castleton. As a chamber musician, he has been invited to work with the outstanding violinist Kyung Wha Chung. He is the winner of the 17th International Fryderyk Chopin Piano Competition (2015).

We’ll find out which Chopin piano concerto will be performed after the competition finals in October 2015.


Review by Robert Gainer, BachTrack:

Click here for full review:

…    “The Philharmonia was on top form having already performed Jean Sibelius’ Valse Triste to open the programme. Ashkenazy, wearing his trademark white polo-neck sweater, coaxed a barely audible, yet tremendously solid, pianissimo from the strings at the beginning, then danced with the dynamics in a serene sway. Translated as ‘Sad Waltz’, this is a work that is bitter-sweet and melancholic in its portrayal of the inevitability of mortal fate than simply sad. Ashkenazy conveyed this distinction brilliantly through his deft musical shaping, and the sound quality of the string and woodwind sections of the Philharmonia was both sensuous and faultless.

They continued in the same manner in opening and accompanying Cho in the Chopin. The Allegro maestoso was exact, never forced or pompous. Cho has an enviable ability to make every note sound distinct and clear, shaping and balancing each phrase perfectly. After only about a minute of his performance I stopped analysing, closed my eyes and lost myself completely in the sheer musicality of the moment. Things only got better in the Romanze: Larghetto, with lyrical reflections seemingly glistening from the black gloss of the concert grand as Cho superbly demonstrated his understanding of Chopin’s stated intent: “calm and melancholy, giving the impression of a thousand happy memories. It’s a kind of moonlight reverie on a beautiful spring evening.” Cho’s more assertive performance of the Rondo: Vivace brought fresh rigour and colour to the conclusion of the concerto, demonstrating the breadth of his interpretative abilities.     […]

[…]     Ashkenazy made me feel like I was hearing an old friend in the symphony, but learning all sorts about that friend I never knew before, and his direction of tempi and dynamics was inspirational. He returns to Birmingham Symphony Hall with the Philharmonia to play Rachmaninov’s Third Symphony in March next year, and based on this performance, it should be well worth booking in advance.”

Sibelius’ Fifth

Thursday 1st October, 7.30pm



  • Mendelssohn  Overture, The Hebrides, 10′
  • Mozart  Piano Concerto No. 9, K.271 , 32′
  • Sibelius Symphony No. 5, 32′
Lars Vogt’s encore – Chopin – Nocturne in C Sharp Minor
Sibelius’ Fifth Symphony begins with a glowing sunrise and ends with a vision of a flight of swans – and one of the simplest but noblest melodies ever written. A real CBSO speciality, there’s no finer way to salute Sibelius in his anniversary year; first, though, Edward Gardner takes us to sea with Felix Mendelssohn, and joins the masterly Lars Vogt in Mozart’s little jewel of a piano concerto.
Available on BBC Radio 3 Live in Concert for 28 days here
Review by Hedy Mühleck, BachTrack (for matinee of same programme)
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…     “With the concerto, the programme had quickly sailed all the way east to the land of a thousand lakes and anniversary composer Jean Sibelius, whom we picture standing on one of them, looking out onto the calm waters, until a noise draws his gaze upwards. He later records in his diary: “…I saw 16 swans. One of my greatest experiences! Lord God, what beauty! […] A low refrain reminiscent of a small child crying. Nature, mysticism and life’s Angst!” Reading about his excitement on seeing a formation of swans pass overhead, one can but wonder how this could have made such an impression on the man, but hearing its reverberation in his Fifth Symphony, one cannot help being drawn into this time-stopping, slightly mystical moment as the birds “disappeared into the solar haze like a gleaming solar ribbon.”Eerily rustling strings grew the figurative reeds surrounding the lake and a creepy, oppressive atmosphere, before brilliant, shining brass took over, combining forces for one of Sibelius’ grand crescendos that crested and washed over the listener with elemental force, and that smashed up against one entire body rather than only entering one’s ears. The second movement pizzicato cues, precise to perfection, displayed the orchestra’s enormous dramatic tension that discharged into the final movements opening, racing tremolos. Never did the musicians show any sign of tiring despite the high speed and played with a solemn but taut energy.

In Gardner’s take, always natural and controlled, Sibelius’ “swan hymn” was more pacing than swinging and, perhaps necessarily so, at a slightly swifter clip, but no less memorable for it, evoking mental images of the majestic birds beating their wings above the awed composer. The high woodwinds delivered their gorgeous chant-like theme with moving emoition, which eventually gave way for yet another elemental, incredibly powerful crescendo that was crowned by the closing orchestral stabs, gripping, mesmerising, awe-inspiring chords, thrown out with absolute precision. This. Was. Big.”