Concert in cooperation with International Holland Music Sessions III

Tuesday, March 20, 2018, 7:00 PM, HM Cycle Musical Mosaic
Small Hall of SP,
Price: 8 €
Oleksandr Korniev violin
Yuliana Rumiantseva piano
Maurice Ravel
Eugène Ysaÿe
Peter Ilyich Tchaikovsky
Sonata for violin and piano No. 2 in G major
Sonata for solo violin in G Major, Op. 27, No. 5 Mathieu Crickboom
Mélodie in E flat Major, Op. 42, No. 3
Alex Beyer piano
Sergej Rachmaninoff Preludes, Op. 32

Young artists performing at the concerts of the Slovak Philharmonic in collaboration with the International Holland Music Sessions (IHMS) belong to the top performers of their generation. They are laureates of the most prestigious world competitions and graduates of master courses organized by the IHMS, which are led by concert artists of renowned names. The IHMS provides concerts to the rising generation of the most talented performers in the foremost halls of Holland, including the Concertgebouw Amsterdam, as well as of other European countries and Russia.

In the 1920s Paris was captured by jazz fever. Besides other transatlantic music formations also the blues ensemble of W. C. Handy regularly performed there. Jazz and blues have enthused also Maurice Ravel and one of the products of that enthusiasm is also the Violin Sonata in G major. The Belgian violin virtuoso Eugène Ysaӱe captivated the audience with his play and solo sonatas almost in the style of Niccolò Paganini. Until today these pieces are one of the pillars of brilliant violin performance. The Mélodie in E-flat Major by Pyotr Ilyich Tchaikovsky is a chamber and introvert echo of his Violin Concerto in D major.
Sergei Rachmaninoff belongs to the few famous composers, who were piano virtuosos at the same time. His cycle of 13 Preludes, Op. 32 from the year 1910 links to the earlier composed Preludes, Op. 23 and the famous Prelude in C-sharp minor, Op. 3/2. Like Chopin, Scriabin or Shostakovich he completed the cycle of 24 piano preludes composed in all keys. Rachmaninoff wrote his Preludes, Op. 32 in close proximity with his Piano Concerto No. 3, therefore some musical idioms in both pieces intersect.