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Concert Johannes Brahms. Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello). Conductor: Valery Gergiev
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Schedule for Johannes Brahms. Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello). Conductor: Valery Gergiev 2022

Composer: Johannes Brahms
Cello: Amanda Forsyth
Violin soloist: Pinchas Zukerman

Orchestra: Mariinsky Theatre Symphony Orchestra

Brahms

Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello)
Mariinsky Theatre Symphony Orchestra
Conductor: Valery Gergiev

The programme includes:
Johannes Brahms
Symphony No 3 in F Major, Op. 90

Johannes Brahms
Violin and Cello Concerto in A Minor, Op. 102

When analysed coolly, Brahms’ Third Symphony (1883) would appear to comprise familiar elements from works already written. These, however, engender a great many new and pliant themes. In the first movement, as always with Brahms, there are no less than five themes, although the rules dictate that there should be only two. The very first theme, which is performed by the wind section and immediately taken up by the trombone and the double basses, moves at its own pace – three times slower than the other instruments. It appears to be somehow eternal and immutable, some kind of fundamental element of the musical material. The theme returns with Wagnerian triumph in the coda of the finale.
The second movement reminds us of the scherzos from the preceding symphonies. Opening the finale with a single-voiced theme was something that had already been done in the Second Symphony. But such a slow movement as the third – sincere, intimate and, at the same time, courageous – had never been seen anywhere before the Third.

Brahms’ Double Concerto (1887) was written for the violinist Joseph Joachim and the cellist Robert Hausmann. Looking at the sheet music, it is hard to avoid the thought that both the violin and cello solo parts are two hands for the piano – the manner of execution is so similar. Arguably, the Hungarian theme in the finale is a reminder that Joachim was born in Hungary.
In the second movement the violin and the cello perform a songful theme together, albeit with minor discrepancies as each of the soloists produces his or her own expressive details. The music of the entire concerto is filled with beautiful melodies. As with Bach, each of the voices picks up the melody – there are more than the ear can catch listening to it just once, and so this music could be listened to endlessly. The rhythm is just as complex and a large portion of it seems to slip away frequently (unfortunately, performing tradition over time has polarised this, a practice gradually being abandoned today).
No fewer than three themes of the first movement are “constructed” from intonations of the main theme. In the finale of the concerto they return once more. The interdependence of all themes is a sign of the composition’s perfection. In 1860 Brahms and Joachim wrote a manifesto against programme music. This was the only time that the composer appeared in print with a declaration in written words. Later he would subject only his music to public judgement, and his final orchestral work – the Double Concerto – is the best argument possible in favour of pure music.
Anna Bulycheva



Amanda Forsyth (cello). Daughter of composer Malcolm Forsyth, Forsyth came to Canada from South Africa at two years of age and began playing the cello at the age of three. She became a protege of William Pleeth in London and later studied with Harvey Shapiro at the Juilliard School in New York and with Lynn Harrell in Los Angeles. After two seasons with the Toronto Symphony Orchestra she became the youngest principal ever selected by the Calgary Philharmonic Orchestra where she remained for six years. In 1999, Forsyth was appointed principal cello of the National Arts Centre Orchestra where she is also featured as a soloist each season.

Forsyth is recognised as an eminent recitalist, soloist and chamber musician appearing with leading orchestras and prestigious chamber music festivals worldwide.

Forsyth and her husband, violinist Pinchas Zukerman, appear frequently together as soloists. She has also collaborated with artists who include Lynn Harrell, Yo-Yo Ma, Garrick Ohlsson, Jon Kimura Parker, Yefim Bronfman, Joseph Kalichstein, Jaime Laredo, Arnold Steinhardt, Michael Tree, and Louis Lortie.

Forsyth is the cellist of the Zukerman Chamber Players, which has toured worldwide since 2003. She also recently collaborated with Wynton Marsalis in New York, recording the sound track for Ken Burns’ 7-part television film about World War II to be produced for PBS.

Amanda Forsyth performs on a 1699 cello by Carlo Giuseppe Testore.




Pinchas Zukerman (born July 16, 1948) is a violinist, violist, and conductor of Israeli descent.

Born in Tel Aviv to Yehuda and Miriam Lieberman Zukerman, Zukerman began his musical studies at age 4, on the recorder. His father then taught him clarinet, and picked up the violin at age 8. Isaac Stern and Pablo Casals learned of Zukerman's violin talent during a 1962 visit to Israel. Zukerman subsequently moved to the United States that year for study at the Juilliard School, under the tutelage of Stern and Ivan Galamian. He made his New York dйbut in 1963. In 1967, he shared the Leventritt Prize with the Korean violinist Kyung-wha Chung. His 1969 debut recordings of the concerti by Tchaikovsky (under the direction of Antal Dorati, with the London Symphony Orchestra) and Mendelssohn (with Leonard Bernstein and the New York Philharmonic) launched a successful recording career that continues to the present day and boasts over 110 releases.

Zukerman launched his conducting career in 1970 with the English Chamber Orchestra, and served as director of London's South Bank Festival from 1971 to 1974. In the USA, Zukerman was music director of the Saint Paul Chamber Orchestra from 1980 to 1987. He later directed the summer festivals of the Dallas Symphony Orchestra (1991–1995) and the Baltimore Symphony Orchestra (1996–1999). In 1999, he became Music Director of Ottawa's National Arts Centre Orchestra (NACO). In March 2012, the NACO announced the scheduled conclusion of his music directorship in 2015. He has served as Principal Guest Conductor of the Royal Philharmonic Orchestra since 2009.

Zukerman is on the faculty at the Manhattan School of Music and is the head and founder of the Zukerman Performance Program at the school. His former students have included Koh Gabriel Kameda, Julian Rachlin, and Guy Braunstein. In 1999 he founded the National Arts Centre Young Artists Programme, which counts young musicians such as Viviane Hagner, Jessica Linnebach, Antal Szalai, and Caitlin Tully as alumni. In 2006 Zukerman began his involvement in the Rolex Artistic Mentorship programme.

Zukerman plays the "Dushkin" Guarnerius del Gesщ violin of 1742. His honours include the King Solomon Award, the National Medal of Arts (presented by President Reagan in 1983), the Isaac Stern Award for Artistic Excellence, and an honorary doctorate from Brown University. His recordings have received 21 Grammy nominations, and 2 Grammy wins. He has collaborated with filmmaker Christopher Nupen on several projects, and was the subject of Nupen's "Pinchas Zukerman: Here to Make Music" documentary of 1974. In 2003 he founded a string quintet, the Zukerman Chamber Players, which has released 3 CD recordings in addition to its roster of live performances.

Zukerman has been married three times. His first marriage was to the flutist and novelist Eugenia Zukerman, from 1968 to 1985. The marriage produced two daughters, Arianna and Natalia, who are now both musicians. Arianna Zukerman is a classical soprano, while Natalia Zukerman is a folk singer and guitarist. Zukerman's second marriage was to actress Tuesday Weld from 1985 to 1998. Both marriages ended in divorce. Zukerman and his third wife, Amanda Forsyth, the NACO's principal cellist, live in the Rockcliffe Park area of Ottawa.





Schedule for Johannes Brahms. Soloists: Pinchas Zukerman (violin), Amanda Forsyth (cello). Conductor: Valery Gergiev 2022


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