On Oct. His performance was inspirational, filled with passion and brilliance. It seemed impossible that someone so young could be capable of having such a graceful, stunning talent. The program was comprised of the music of Aram Khachaturian, a famous Armenian composer from the Soviet Union. These two performances were impressive, but were nothing compared to the performance the audience witnessed after the intermission when Sergey Khachatryan began to play. Although these were slightly longer pieces, they were still very enjoyable.
During the time that Khachatryan was on stage, the orchestra remained seated, while Khachatryan, being the main focus of the entire concert, stood center stage. At the end of the concert, Sergey Khachatryan received a well-deserved standing ovation. A couple of minutes passed, and the audience was still applauding him and giving him flowers. Khachatryan, honored by this act, urged the audience to sit down again and gave a surprise, unplanned performance. Last movement highlights included some noble sounds from the trombones and, especially, the radiant phrasing of principal flutist Emily Skala.
Performing with his sister, pianist Lusine, who also plays a number of solo works on this disc, Khachatryan brings his glorious tone to the music of his homeland. There is a school of Armenian composition, informed by folk and religious music, that stretches back to the midth century, although its founder Komitas Vardapet, who suffered during the events of , is the only composer here to have written in that century.
Rarely do we come across a violinist who speaks Beethoven in long phrases as understandable as a Lawrence Olivier reading of Shakespeare. During his gorgeously compelling cadenzas it seemed that no one in the hall drew a breath. Pianist Lusine is at her best in the sprightly, dancing scherzo of the third sonata; violinist Sergey excels in the peaceful meditative central movement of the second sonata.
Elsewhere there is slightly too much edgy violin vibrato for my taste, but they come together to create a fresh, incisive account that lifts these three sonatas into a new realm of intense feeling. Aber ziemlich gegen Ende der Einspielung werden auch solche Errungenschaften zweitrangig.
The opening Nocturne was a profound reverie; the Scherzo movement rose to a triumphant, whirling finale, and the somber Passacaglia was profoundly affecting.
The fierce difficulty and staggering virtuosity of the final movement brought the audience to its feet, hoping in vain this time for an encore. Violinkonzertes von Dmitri Schostakowitsch durch seinen technisch makellosen und stilsicheren Vortrag.
Nach dem klagenden Nachtgesang bildet das groteske Scherzo einen wirkungsvollen Kontrast. Bravo, bravo, bravo, bravo! Le violoniste offrira deux bis. In New York, where audiences are treated to regular performances by star musicians, there is excellent music-making in abundance.
As soon as Mr. Khachatryan began the opening Allemande, you could sense how intently the audience began listening, as he achieved the all-too-uncommon feat of seducing a rustling, coughing crowd into silence. Khachatryan played the monumental Chaconne, and equally heart-wrenching moments during the Sarabande. The performance after intermission proved equally intense. The drama continued with the encore, the soulful, turbulent Introduction and Perptuum Mobile for violin and piano by the Armenian composer Edvard Mirzoyan.
In each case the second slow movement is very lovely, but in keeping with the way the whole sonata starts, that of the C major is quite hesitant. Khachatryan had us listening on the edges of our seats Yet there's nothing slick about him. He performs the Shostakovich Concerto No. In the interview below, Sergey Khachatryan discusses, among other things, his deep connection with Shostakovich's music and his love of fast cars. You just had an important debut here with the New York Philharmonic and you'll be back in April for your New York recital debut.
How are you enjoying your time in New York City? The last time was in the summer when I had my Mostly Mozart debut. Of course it's a great city! Maybe not the best city for me to live in, but for a visitor really a crazy city!
It never sleeps — there's so much happening here. I've been staying with friends, which is what I prefer to do when I travel, as it's a lot more fun than staying at hotels. While I was in town this time I went to the Blue Note to hear some Brazilian jazz and it was lots of fun. Having a busy nightlife is tough when you have concerts to perform. I don't do much else on days that I give concerts. You're increasingly appearing in concert halls across the U.
There's definitely a lot of exciting classical music activity going on down there. Actually, I've played in Ecuador twice and also in Brazil. I stayed at the Copacabana Hotel on the famous beach in Rio. Unfortunately the weather wasn't so great — lots of rain — but still, we went twice to swim I was with my father. There were great waves and we were enjoying doing some body surfing! Tell us about your upcoming program at Carnegie Hall. How did you select this particular repertoire? The first thing I can say is that two of these works — the Bach Chaconne and the Franck Sonata — have been among my favorites works since I was born.
I love Bach, especially the solo Sonatas and Partitas. He's a composer who stays with you no matter how much you change as a person. Photographs are numbered and signed. Every customer can be given a copy of their certificate of authenticity by contacting support singulart. Would you like to see more images of this artwork?
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