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VI INTERNATIONAL CONSERVATOIRE WEEK FESTIVAL
CONCERT RPOGRAM

OCTOBER 21, SATURDAY
7 p. m.
Glazunov Hall

THE BOSENDORFER KLAVIERFABRIK (AUSTRIA)
PRESENTS THE FIRST
IMPERIAL CONCERT GRAND PIANO IN RUSSIA


T he Viennese Company of Bosendorfer is one of the oldest piano producers in the world and boasts one of the longest and most illustrious traditions of piano making. Their global reputation is without question very high in all musical cultures. Bosendorfer pianos are to be found in the best concert halls, conservatories and private homes throughout the world. Their most important markets are the USA (about 40 percent), and Europe and Japan (at about 30 percent each). Bosendorfer pianos not only embody the best of the companys 180 year old history of piano making but also incorporate the cutting edge of recent modern technological achievement. Many of the worlds best pianists have acclaimed the unique qualities of a Bosendorfer piano. Among them are included Clara Schumann, Franz Liszt, Anton Rubinstein, Ferruccio Busoni, and Leonard Bernstein, just to name a few.


Fortunately the reputation of Bosendorfer grand pianos is so solid and so brilliant that it may prove difficult to improve on..
Franz Liszt

There is only one name: Bosendorfer Sound, power, beauty, nuances, simply perfect.
Philippe Entremont

Suddenly I came to an instrument that spoke to me like I never heard before: the sound seemed to flow through my fingers, up my arm, through my whole body
Oscar Peterson

FESTIVAL PREMIERE
RODION SHCHEDRIN (1932)
HOMMAGE A CHOPIN for 4 pianos (2005)

RUSSIAN PREMIERE
THE AURORA QUARTET:
Julia SEVERUS, piano
Alexander VITLIN, piano
Alina LUSCHTSCHIZKAJA, piano
Apostolos PALIOS, piano

H ommage a Chopin for 4 pianos is a cycle of very free variations on the theme of Chopins Prelude in C. Its world premiere took place in Oslo, Norway. Many years ago I did something like it with Munchner Klavier Sommer (the performers were the composer himself, Chick Corea, Nick Ekonomou, and P. Gulda). But that had been a free improvisation for all four participants: designated were only textures and the intonation sequence of this variation cycle, upwards and downwards, to a marked culmination point, were designated. In this commission by the Aurora Quartet, Berlin Ive principally composed a new virtuoso concertino work, where every note is strictly marked. In this work, I insist that all four performers rigorously follow my directions. It is my intention that the performers always try to accentuate the virtuoso character of the piece to the audience.

Rodion Shchedrin

 

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