Piano

Nour Ayadi

Cello

Gautier Capuçon

 (Piano), nominated by (and performing with) 

An expressive meditation on Rachmaninov, Debussy, and Liszt

For me, [the piano] is the place where I find myself, where I can meditate, be almost in a sort of trance…it allows me to discover who I am, my limits…

The cellist is anchored in the ground, around his instrument, there is a union of two bodies… we wrap around each other, it’s very sensual.

Pianist Nour Ayadi, and cellist Gautier Capuçon, share an intimate relationship with their instruments that surpasses physical touch. It is a relationship that nourishes their sense of identity and grounds them in a universe that spins on the axis of musical strings. 

Mysticism echoes through Sergei Rachmaninov’s 

Sonata in G minor for Cello and Piano, Op. 19

. Reaching psychological breaking point in 1897 after a catastrophic premiere of his Symphony No. 1, hypnotherapy lulled the composer into recovery, after which emerged this sonata. Featuring close intervals, passionate single-note repetitions and bell-like sonorities, the symphony is reminiscent of the spirit of the Russian Orthodox Church. 

Mysticism and mystery are not limited to the four-movement form. Claude Debussy’s 

 (From a sketchbook) is a brief, yet seductive piano work of just fifty-five measures. Its “very slow (without rigour)” rhythm has a persuasive quality, rich with thoughtful repetition and meaningful pauses. First publicly performed by Ravel in 1910, it remains one of Debussy’s least known and most neglected works.

 lets its anxiety and torment be known. As repeated themes turn incessantly around each other, we can almost feel the anguish regurgitating through the notes. With obsessive motifs and sharp staccatos, the work departs from the slow pondering of the previous work. Written in the summer of 1904, Debussy had just left his first wife for singer Emma Bardac. Its title, he said, “is not [a reference to] Commedia dell’arte, but the tragic expression of existence.”

After ceaseless probing, we start a gradual descent into an inferno through the Devil’s Interval (a tritone). 

Après une lecture du Dante (Fantasia quasi Sonata)

 by Franz Liszt describes the journey of the soul into hell, beginning with descending tritones and dissonant harmonies that brings us to D minor – a key infamously associated with death in Romantic music. The second theme of this work is an enchanted chorale in the major, representing the uplifting nature of Heaven. Perhaps it is here that we witness the meditation and intimacy that both Ayadi and Capuçon experience with their instruments.

Nour Ayadi and Gautier Capuçon

D'un cahier d'esquisses

Masques

Après une lecture du Dante - Fantasia quasi Sonata

Piano and Cello Recital

Illia Ovcharenko

“It has become part of my aim to promote Ukrainian classical music…it is so beautiful and powerful, and it deserves to be heard.” 

Pianist Illia Ovcharenko has made it his mission to unveil the unheard notes of Ukrainian composers. Through carefully chosen pairings, he shines a light on the unifying threads between widely-recognised figures like Frédéric Chopin and Sergueï Prokofiev, and the lesser-known voices of Sergueï Bortkiewicz and Borys Lyatoshinsky. 

Though Bortkiewicz’s music is less familiar, it embodies a deep emotional sentiment rooted in Romantic ideals: “…as far as I am concerned, romanticism is not the bloodless intellectual commitment to a program, but the expression of my most profound mind and soul.” His 

 encapsulates this philosophy with sweeping melodies and rich harmonies, expressing vulnerability and lyricism in his distinct voice. 

 that a delicate intimacy is captured. With its sensitive rubato and dynamic shading, this work evokes the ethereal and reflective nature of the Roman goddess of the moon and hunting. The introspection of 

 is then spun into the playful, flirtatious 

. In A-B-A form, the spirited opening theme conjures the energy of “The Brunette”. The lyrical middle section provides contrast before we return to lively passagework and trills. 

Also in ternary form, Bortkiewicz’s final 

 presents an emotional theme of unrelenting intensity. This intensity is echoed in Chopin’s 

 chords, which then give way to a powerful 

 passage, before returning once more to the quiet ferocity of 

. Described by Schumann as, “…so overflowing with tenderness, boldness, love and contempt” our breaths are instantly stolen by the tension created through his melodic impetuosity. 

The fervour in the works of Bortkiewicz and Chopin resonates strongly in those of Lyatoshinsky and Prokofiev, both of whom were deeply shaped by the turmoil of war. Lyatoshinsky’s 

 reflect his hope for victory, drawing on Ukrainian folk motifs to create a dramatic, recurring thematic narrative. Prokofiev’s 

, the first of his “War Sonatas”, is similarly influenced by the Second World War. Its opening descending minor and major thirds create tonal instability that conveys the hammering pleas of despair. 

5 pieces 

Scherzo No. 2 en si bémol mineur, Op. 31

5 Préludes, Op. 44

Sonate pour piano No. 6 en la majeur, Op. 82

Piano Recital

Tomoki Park talks about how he met Sir András Schiff, the way that he approaches new music and commissions, the Classeek Ambassador Programme, and more in this interview with Benjamin Woodroffe.

Tomoki Park Interview

with Benjamin Woodroffe

Martina Consonni

Tomoki Park

"It is with great pleasure that I can introduce two excellent pianists to you: Martina Consonni and Tomoki Park. Martina Consonni is full of life and “Italianita,” her musicality is most engaging. Tomoki Park is a brilliant mind, intellectual in the best sense but full of emotions. He is very interested in new music and plays it with understanding and enthusiasm. Please receive them with open hearts."

Martina Consonni is a ‘rare talent,’ renowned classical pianist and conductor, Sir Andràs Schiff enthuses. Cellist Gautier Capuçon also testifies to her sensitivity and creativity – her exceptional skill echoing Therese Bartolozzi, a brilliant pianist of the 18th century to whom Haydn’s Piano Sonata in C major, Hob:XVI:50, is dedicated.

Written around 1794, Haydn was concluding his second (and last) visit to London. His trips to the vibrant city famously inspired him to write several symphonies, yet he also reveled in the large English pianos of the day. With an extended keyboard that gave the instrument ‘extra’ notes, Haydn wrote his Sonata in C major with this luxury in mind. A witty flair that has come to be synonymous with Haydn accompanies this sophisticated keyboard writing.

Not many of us are blessed with witty flair in adolescence, remarks Romantic writer Jean Paul in his novel Flegeljahre (The Awkward Age). The last scene of the book, a masked ball, was the inspiration for Schumann’s piano suite Papillons, and was subject to many annotations by the composer as he devoured the pages. 

Meaning “butterflies”, Papillons refers to the many slips of paper on which Schumann wrote his notes whilst reading Flegeljahre. As in Jean Paul’s novel, Papillons spins us through several dance-like movements with rapid mood changes and intense encounters.

A similar intensity is captured in Mendelssohn’s Rondo Capriccioso in E minor, albeit not immediately: first, we are lulled by a lyrical adagio reminiscent of his Lieder ohne Worte. This then gives way to a sparkling scherzo as the tension continues to mount. A virtuosic race begins and we are compelled to hang onto every note until the finish line. 

Reworked in 1830 for piano virtuoso Delphine von Schauroth, Mendelssohn’s Rondo Capriccioso in E minor is a brilliant demonstration of his lyrical tenderness, coupled with his powerful exigence.

J.S. Bach’s collection of four duets, published in 1739, contains his usual dedication “[to] music lovers to refresh their spirits”. This time, however, he saw fit to add an additional phrase: “and especially for connoisseurs of such work”. An intellectual and technical feat, these duets are not written for two instruments but rather two voices – not unlike his two-part inventions. Stretching the limits of contrapuntal art, it is especially a connoisseur, as Bach rightly concedes, that can appreciate the purity of this two-voice counterpoint. Having performed at celebrated venues such as Berliner Philharmonie and Wigmore Hall, Tomoki Park is both a connoisseur and master of such complexity.

Park is not the only one to share a sensitivity to detail and structure. American composer Katherine Balch draws parallels between her music and botany, citing, “The veins in a leaf form patterns that are self-similar but not quite symmetrical, which is what I try to do in my music…”. This is what we can anticipate in her new work Obstenmelodie, along with incredible layers of texture that have come to characterise her music.

Just as texture marks Balch’s compositions, Schubert’s are often characterized by their unfinished nature. Like his eighth symphony – the Piano Sonata in C major, D. 840 “Reliquie” – contains only two fully completed movements. With vivid harmonic language, Beethovenian grandeur, and perceptive, intimate writing, this sonata is one of the most significant of Schubert’s unfinished works. 

Among Bach’s most significant finished works are the Canon Per Tonos and Musical Offering Ricercare 6, which conclude this recital. Canons can take all shapes and sizes, a feature that Bach exploited. With the theme given by Frederick the Great, Bach manipulated the music so that it goes up a step (tone) with each repetition. He explained in the inscription to this piece, that “as the modulation rises, so may the King’s glory”.

However, this was not the end of Bach’s – dare we say it – invention. Taking counterpoint several levels higher, his Ricercar 6 is a six-voice fugue that presents a lengthy theme dedicated to Frederick the Great.

Martina Consonni and Tomoki Park

Rondo capriccioso in E minor, Op. 14 

Giorgi Gigashvili

Giorgi Gigashvili talks about his life as a pianist, competition experiences, his mentor Sonia Simmenauer and what it's like to balance a concert pianist schedule with playing in a band, in this interview with Benjamin Woodroffe.

Giorgi Gigashvili Interview

We are delighted to announce 10 very promising open application instrumentalist finalists for the Ambassador Programme 2023-2024. Like last year, we were extremely impressed with the high standard of the applicants and thank everyone sincerely for the time and effort that has gone into applying. 

Here are the 10 finalists of our Ambassador Programme (instrumentalists) open application, for season 2022-23:

Next week we will be announcing the final instrumental artist and composer joining our Ambassador Programme from our open application, along with all nominated artists. Stay tuned for the final result! 

Open Application Finalists 

Ambassador Programme 2023-2024

Violin

Alexey Stychkin

Winning the place on Classeek's first ever open application, violinist Alexey Stychkin joins the Classeek Ambassador Programme for the 2022-23 season.

Russian-Greek violinist Alexey Stychkin comes from a family with deep musical and artistic roots. Born in Moscow in 2000, at the age of five he started his violin studies at the Central Music School for Gifted Children in the class of Galina Tourchaninova. During his school years, he performed in Greece, Israel, Italy and throughout Russia. He has continued his studies with Marc Bouchkov in Liege Royal Conservatory. Currently, Alexey is studying with Mihaela Martin in the masters program at the Hochschule fur Musik und Tanz in Cologne. Concurrently, starting with the 2022/23 season, he has received an academy position in the first violin section of the Staatskapelle Berlin and moved to Berlin. 

Alexey Stychkin & Raúl da Costa | Cesar Franck - Violin Sonata

Classeek Showroom performance, May 2023

Nominated by Sonia Simmenauer, pianist Giorgi Gigashvili joins the Classeek Ambassador Programme for the 2022-23 season.

Born in Tbilisi, Georgia in 2000, Giorgi took his first piano lessons without ever thinking about becoming a professional pianist. Passionate about singing and arranging Georgian folk and pop songs, he successfully competed in various Georgian singing contests at the age of 12. As a classical pianist, he won the 1st Prize at the Vigo International Piano Competition in 2019,  the Third Prize and the Audience Prize at the 62nd Busoni International Piano Competition, and most recently won 2nd prize at the 17th Arthur Rubinstein International Piano Master Competition.

Giorgi Gigashvili | Schumann, Sonata op 11

Classeek Showroom performance, April 2023

Giorgi Gigashvili | Scarlatti, Sonata in D Major K29

Giorgi Gigashvili | Albéniz, Malagueña (encore)

Malagueña

Giorgi Gigashvili | Scarlatti, Sonata in C Major K487

Giorgi Gigashvili | Brahms, Three Intermezzi, Op. 117

We extend our huge congratulations to pianist and Ambassador Programme artist 

, who won second prize at the 17th Arthur Rubinstein International Piano Master Competition, last week. 

His success follows the announcement of his debut album 

, to be released on Alpha Classics later this month,  as well as his inclusion in 

 list, featuring thirty sensational musicians of today.

Giorgi will join us later this week, performing in recital at the Classeek Showroom,  in a programme of Scarlatti, Brahms and Liszt.  You can watch via our live stream here on 

Success for Giorgi!

The latest on Giorgi Gigashvili

Bilal Alnemr

Nominated by Sonia Simmenauer, violinist Bilal Alnemr joins the Classeek Ambassador Programme for the 2022-23 season.

Bilal was born in Damascus and at the age of eight, he began to study violin at the Solhi-AL-WADI Conservatory. In 2007, he won the first prize in the national competition for young Syrian talents. His mentor Sonia Simmenauer says, “I was stricken when I met with Bilal the first time and his seriousness about being a musician. I admire his courage and dedication to music.”

Bilal Alnemr & Giuseppe Mentuccia | Solhi al Wadi, Violin Sonata No.2

Violin Sonata No.2

Classeek Showroom performance, March 2023

Julia Hamos

Julia Hamos talks with Benjamin Woodroffe about her programming, upcoming concerts, travels around the world, and her experience on Sir András Schiff's Building Bridges series, as well as the Classeek Ambassador Programme.

Julia Hamos Interview

Nominated by Sir András Schiff, in connecting with his Building Bridges series, pianist Julia Hamos joins the Classeek Ambassador Programme for the 2022-23 season.

A graduate of the Royal Academy of Music in London, Hamos also studied with Sir András Schiff at the Barenboim-Said Akademie in Berlin and at the Kronberg Academy. In 2021 she also worked with Daniel Barenboim in a succession of filmed masterclasses on Beethoven's solo piano and string sonatas.

Julia Hamos | Bartók, Six Dances in Bulgarian Rhythm from Mikrokosmos

Six Dances in Bulgarian Rhythm from Mikrokosmos

Classeek Showroom performance, January 2023

Julia Hamos | Bach, French Suite No. 4

French Suite No. 4

Jeein You

Jeein joins the Classeek Ambassador Programme for season 2022-23, following her nomination by Gautier Capuçon. 

Jeein You was born in South Korea in 2002 and began studying cello at five. When she was seven she joined the Korea National University Of Arts Preschool under her tutor Chung Myung-Wha. Her ambassador Capuçon says, “Jeein is such a talented cellist and a very sensitive musician with an incredible ability to carry her emotions through music."

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