Sun, Feb. 15, 2015 at 3 pm


Sat, Feb. 28, 2015 at 8 pm


Sun, March 8, 2015 at 3 pm


Sun, March 22, 2015 at 3 pm


Sun, March 29, 2015 at 3 pm


Sun, April 12, 2015 at 3 pm


Sun, April 19, 2015 at 3 pm


Sun, May 3, 2015 at 3 pm


Sun, May 10, 2015 at 3 pm

All performances are at Marines' Memorial Theatre


Click HERE for information on our 2016 season in San Francisco.

Click HERE to purchase tickets online to our 2016 season in San Francisco.


Don't miss Renaud Capuçon!

Don't miss Renaud Capuçon! Pianist Nikolay Khozyainov The Intense Sitkovetsky Trio The Vibrant Pacifica Quartet


SUNDAY, FEBRUARY 15, 2015 at 3 PM


DVORAK Four Romantic Pieces, Op. 75

GRIEG Sonata No. 3 in C minor, Op. 45





“They conjure a swooningly powerful and rich sound”

—The Telegraph (review of Capuçon and Buniatishvili recital at Wigmore Hall)

Born in Chambéry in 1976, violinist Renaud Capuçon began his studies at the Conservatoire National Supérieur de Musique de Paris at the age of fourteen, winning numeours awards during his five years there. Following this, Capuçon moved to Berlin to study with Thomas Brandis and Isaac Stern, and was awarded the Prize of the Berlin Academy of Arts. In 1997, Capuçon was invited by Claudio Abbado to become concertmaster of the Gustav Mahler Jugendorchester, which he led for three summers, working with conductors such as Pierre Boulez, Seiji Ozawa, Daniel Barenboim, Franz Welser-Moest and Abbado himself.

Since this time, Capuçon has established himself as a soloist at the very highest level. He has played concerti with orchestras such as the Berlin Philharmonic under Haitink and Robertson, the Boston Symphony under Dohnanyi, the Orchestre de Paris under Eschenbach and the Simon Bolivar Orchestra under Dudamel. He also appears regularly in solo recitals, most recently performing complete Beethoven violin sonata cycles worldwide.

Capuçon has a great commitment to performing chamber music and has worked with Argerich, Barenboim, Bronfman, Grimaud, Kovacevich, Pires, Pletnev, Repin, Bashmet and Mørk, as well as with his brother, cellist Gautier Capuçon. These collaborations have taken him to the festivals of Edinburgh, Salzburg, Berlin, Lucerne, Verbier, Aix-en-Provence, Roque d’Anthéron, San Sebastian, Stresa, Tanglewood and many others.

Capuçon records exclusively for EMI/Virgin Classics. His recent Fauré chamber music CD with Nicholas Angelich, Gautier Capuçon, Michel Dalberto, Gérard Caussé and Ebène Quartet won the Echo Klassik Prize. He has just released a CD recording of Brahms/Berg Concertos with the Wiener Philharmoniker under Daniel Harding. Since 2007 Renaud Capuçon has been an Ambassador for the Zegna & Music project, which was founded in 1997 as a philanthropic activity to promote music and its values.

Renaud Capuçon plays the Guarneri del Gesù “Panette” (1737) that belonged to Isaac Stern, bought for him by the Banca Svizzera Italiana (BSI). In June 2011 he was appointed “Chevalier dans l’Ordre National du Mérite” by the French Government.


Born in 1987 in Tbilisi, Georgian pianist Khatia Buniatishvili gave her début performance with orchestra at age six, and was subsequently invited to give guest performances in Switzerland, the Netherlands, France, Germany, Belgium, Italy, Austria, Russia, Israel and the USA.

During her studies at Tbilisi’s State Conservatoire, she won a special prize at the Horowitz Competition for Young Pianists in Kiev in 2003, and soon after transferred to Vienna’s University of Music and Performing Arts. Winner of the Bronze Medal at the 12th Arthur Rubinstein Piano Master Competition in 2008, she was also distinguished as the Best Performer of a Chopin piece and as Audience Favourite.

In 2010 Khatia received the Borletti-Buitoni Trust Award and was included in the BBC series on New Generation Artists. The Vienna Musikverein and Konzerthaus nominated her as Rising Star for the 2011–12 season. Another milestone in 2012 was the selection of Khatia Buniatishvili as Best Newcomer of the Year in the Echo Klassik awards.

She has given critically acclaimed recitals at such renowned venues as London’s Wigmore Hall, Amsterdam’s Concertgebouw and the Musikverein in Vienna. In 2008 she made her US concert début with orchestra at Carnegie Hall.

In 2011 Khatia Buniatishvili made her recording debut with a Liszt recital on Sony Classical, followed with a recording of the Chopin concertos.

Khatia Buniatishvili has been invited to play with such orchestras as the Orchestre de Paris under Paavo Järvi, the Los Angeles Philharmonic, the Vienna Symphony Orchestra, the Orchestre National de France under Daniele Gatti and the Philharmonia Orchestra in London. She can also often be heard in performances of chamber music: in a trio with Gidon Kremer, with Renaud Capuçon or also with her sister Gvantsa.

In 2013–14 Khatia was part of the breathtaking show Art on Ice; other highlights included recitals in the Vienna Musikverein, Salle-Pleyel in Paris, the Philharmonie in Berlin and the Wigmore Hall in London, as well as tours in China and North America and concerts with the Munich Philharmonic and Lorin Maazel.

Khatia Buniatishvili speaks five languages and lives in Paris.


CASALS QUARTET San Francisco Debut


MOZART String Quartet in C Major, K. 465 "Dissonant"

RAVEL String Quartet

BRAHMS String Quartet in C minor, Op. 51 No. 1




"Their warm, full-toned playing was immaculate and poetic throughout."

—The Independent (London)

Vera Martinez, violin
Abel Tomàs, violin
Jonathan Brown, viola
Arau Tomàs, cello

Since winning First Prizes at the London and Brahms-Hamburg competitions, Cuarteto Casals has been a repeated guest at the world’s most prestigious concert halls including Wigmore Hall, Carnegie Hall, Musikverein Vienna, Philharmonie Cologne, Cité de la Musique Paris, Schubertiade in Schwarzenberg, Concertgebouw Amsterdam and the Philharmonie in Berlin, among many others throughout Europe, North America and Japan.

As happens in many quartets, the two violinists alternate playing first.  However, one interesting facet to the Casals' performance is that the ensemble's approach, and very character, changes dramatically depending on who is leading for a given work!  Compare the two videos on left to see what we mean...

The quartet has compiled a substantial discography with the Harmonia Mundi label, including to date 9 CD’s, with repertoire ranging from lesser known Spanish composers Arriaga and Toldrá to Viennese classics Mozart, Haydn, Schubert and Brahms, through 20th Century greats Bartok, Kurtag and Ligeti. Following its critically acclaimed performances of Schubert's fifteen string quartets last season, Cuarteto Casals will record the cycle live for DVD in at  L'Auditori in Barcelona, where it is quartet in residence.

 “A sonic signature entirely its own,” raved the New York Times, describing Cuarteto Casals’ distinctive range of expression. A prize from the prestigious Burletti-Buitoni Trust in London enabled the quartet to purchase a matching set of Classical period bows which it uses for works from Purcell through Schubert, refining its ability to distinguish between diverse musical styles. In addition, the quartet has been profoundly influenced by its work with living composers, especially György Kurtag, and has given the world premiere of quartets written by leading Spanish composers.

In recognition of Cuarteto Casals’ unique position as the first Spanish string quartet with a truly international profile, the quartet has been honored with the Premio Nacional de Música as well as the Premi Ciutat Barcelona. The quartet has accompanied the King of Spain on diplomatic visits and performed on the peerless collection of decorated Stradivarius instruments in the Royal Palace in Madrid.

Cuarteto Casals often appears on television and radio throughout Europe and North America and is Quartet in Residence at the Escola Superior de Musica de Catalunya in Barcelona, where all four members reside and teach.


SITKOVETSKY TRIO San Francisco Debut

SUNDAY, MARCH 8, 2015 at 3 PM

BEETHOVEN Trio in E-flat Major, Op. 10 No. 2

MENDELSSOHN Trio No. 2 in C minor, Op. 66

BRAHMS Trio No. 1 in B Major, Op. 8


"The Sitkovetsky Trio pulled out all the stops in an outstanding recital"

—Sydney Morning Herald

Alexander Sitkovetsky, violin
Leonard Elschenbroich, cello
Wu Qian, piano

First prizewinner of the International Commerzbank Chamber Music Award 2008 and recipients of the NORDMETALL Chamber Music Award at the Mecklenburg Vorpommern Festival 2009, the Sitkovetsky Trio is a collaboration between three young musicians who share a passion for Chamber Music. Having met and worked together at the Yehudi Menuhin School, they founded the trio in 2007 and have emerged as one of the outstanding trios of today, receiving numerous awards and critical acclaim. They have won the Philharmonia-Martin Chamber Music Award, the Kirckman Society Award, the Tillett Trust, and are supported by the Hattori Foundation, the Fidelio Trust, the Music Benevolent Fund and the Swiss Global Artistic Foundation. They held the Junior Fellowship at the Royal Academy of Music 2007-2008, and from 2008 to 2010 they received multiple fellowships at the Trinity College of Music, resulting in many performances at the College and across London.

The trio recently debuted at the Wigmore Hall and was immediately re-invited for two more performances. In 2011-2012, the trio held a three concert residency at the King's Place in London, another three concert residency at the Kettle's Yard in Cambridge as well as various recitals in the UK and abroad including a re-invitation to Bath's Mozartfest. They were Trio in Residence at the Mecklenburg Vorpommern Festival's Chamber Music week and  performed the Beethoven Triple there in the summer of 2012 with the Konzerthaus Orchester Berlin.

They then made a highly successful Southbank debut, playing a recital in the Purcell Room, and were subsequently invited to play for Her Majesty the Queen in London.

Other notable appearances have included the Concertgebouw in Amsterdam, the Palais des Beaux Arts in Brussels, the Alte Oper in Frankfurt, the Vancouver Recital Society and tours to Australia and China.  In short, this young group is taking the musical world by storm!


AUGUSTIN HADELICH, violin San Francisco RECITAL Debut
and JOYCE YANG, piano

SUNDAY, MARCH 22, 2015 at 3 PM

STRAVINSKY Suite Italienne

SCHUMANN Sonata No. 1 in A minor

YSAYE Sonata No. 3 in D minor "Ballade"


PREVIN Tango Song and Dance




"Hadelich plays with dazzling technique, a gorgeous tone and penetrating, spontaneous musicality"

—The New York Times

Consistently cited in the press for his “poetic communication” (Washington Post) and “fast-fingered brilliance” (The New Yorker), the immensely gifted German violinist Augustin Hadelich has catapulted into the top echelon of young violinists. After his debut in summer 2010 with New York Philharmonic under the direction of Alan Gilbert at the Bravo! Vail Valley Festival, he was immediately re-engaged to play in Vail and at the Caramoor Festival.

Augustin Hadelich has since performed subscription concerts with the New York Philharmonic Orchestra and has also performed in the USA with the Boston Symphony at the Tanglewood Festival, the Cleveland Orchestra, Dallas Symphony, Houston Symphony, Los Angeles Philharmonic, National Symphony (Washington D.C.), New Jersey Symphony, Saint Louis Symphony, Toronto Symphony. Atlanta Symphony, Baltimore Symphony, Cincinnati Symphony, Indianapolis Symphony, Seattle Symphony and the Vancouver Symphony Orchestras.


In Europe his performances have included the BBC Philharmonic Orchestra, SWR Orchestra Stuttgart, Netherlands Philharmonic Orchestra, Orchestre Philharmonique de Strasbourg, RTÉ National Symphony Orchestra Dublin, Deutsche Radio Philharmonie Saarbrücken-Kaiserslautern, Dresden Philharmonic, Helsinki Philharmonic Orchestra and the Orchestre Philharmonique de Monte-Carlo.  He made his debut in Japan with the Tokyo Symphony Orchestra and returns to Japan in 2014.


Conductors with whom he has collaborated include Alan Gilbert, Frühbeck de Burgos, Hans Graf, Giancarlo Guerrero, Miguel Harth-Bedoya, Günther Herbig, Yakov Kreizberg, Lionel Bringuier, Hannu Lintu, Kazushi Ono, Peter Oundjian, Vasily Petrenko, Christoph Poppen, Stefan Sanderling, Michael Stern, Yan Pascal Tortelier, Bramwell Tovey, Mario Venzago, Kazuki Yamada and Sir Neville Marriner.


He has recorded three CDs for AVIE: Flying Solo (including Bartók solo sonata); Echoes of Paris featuring French and Russian repertoire influenced by Parisian culture in the early 20th century; and Histoire du Tango (with Pablo Sainz Villegas).  Earlier he made a highly praised recording of Haydn’s complete Violin Concertos with the Cologne Chamber Orchestra (Naxos).


An enthusiastic recitalist, Augustin Hadelich has appeared at Carnegie Hall (New York), Kennedy Center (Washington, D.C.), Kioi Hall (Tokyo), the Louvre (Paris) and the Vancouver Recital Society. As chamber musician he has participated at theLa Jolla, Marlboro, Ravinia and Seattle Festivals.

Born in Italy in 1984, the son of German parents, Augustin Hadelich holds an artist diploma from The Juilliard School where he was a student of Joel Smirnoff.  He was Gold Medalist of the Indianapolis International Violin Competition in 2006 and is recipient of Lincoln Center’s Martin E. Segal Award (2012), an Avery Fisher Career Grant (2009) and a Borletti-Buitoni Trust Fellowship (2011).



Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce Yang captivates audiences across the globe with her virtuosity, lyricism, and magnetic stage presence.


Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition, as well as awards for Best Performance of Chamber Music and Best Performance of a New Work.


Since then, she has appeared with such orchestras as the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, Houston Symphony, and BBC Philharmonic, working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson and Jaap van Zweden. In recital, Yang has performed at Lincoln Center, the Kennedy Center, Chicago’s Symphony Hall; and Zurich’s Tonhalle.


During the 2013-14 season, Yang completes her Rachmaninoff cycle with de Waart and the Milwaukee Symphony Orchestra, makes her debut with the Royal Flemish Philharmonic under de Waart in Belgium, performs as concerto soloist in Brazil, and returns to symphony orchestras in Fort Worth, Houston, Nashville, Melbourne, Seoul, and Vancouver. She plays solo recitals in Washington, DC, Houston, and Seattle, and appears at the Kennedy Center with violinist Augustin Hadelich and guitarist Pablo Sáinz-Villegas. Other chamber collaborations include concerts with the Alexander String Quartet and Modigliani Quartet, duo recitals with Hadelich in Dallas and Los Angeles, and a residency at the Hong Kong International Chamber Music Festival. Her busy summer includes performances at the Aspen, Vail, Sun Valley, Rockport, and La Jolla festivals. 2014 brings the release of Wild Dreams, Yang’s second solo disc for Avie Records, with music by Bartók, Hindemith, Schumann, and Rachmaninoff, and she is featured on an Alexander String Quartet recording of the Brahms and Schumann Piano Quintets.


Born in Seoul, South Korea, Yang graduated from Juilliard and in 2010 she received an Avery Fisher Career Grant, one of classical music’s most prestigious accolades.




SUNDAY, MARCH 29, 2015 at 3 PM

HAYDN Quartet in B-flat Major, Op. 76 No. 4 "Sunrise"

LIGETI Quartet No. 1 "Metamorphoes nocturnes"

BEETHOVEN Quartet in E minor, Op. 59 No. 2




"They play with clarity and dark intensity, superbly sustained." 

—The Times (London)

Simin Ganatra, violin
Sibbi Bernhardsson, violin
Masumi Per Rostad, viola
Brandon Vamos, violoncello

Recognized for its virtuosity, exuberant performance style, and often-daring repertory choices, over the past two decades the Pacifica Quartet has gained international stature as one of the finest chamber ensembles performing today. The Pacifica tours extensively throughout the United States, Europe, Asia, and Australia, performing regularly in the world’s major concert halls. Named the quartet-in-residence at Indiana University's Jacobs School of Music in March 2012, the Pacifica was also the quartet-in-residence at the Metropolitan Museum of Art (2009 – 2012) – a position that has otherwise been held only by the Guarneri String Quartet – and received the 2009 Grammy Award for Best Chamber Music Performance.

Formed in 1994, the Pacifica Quartet quickly won chamber music’s top competitions, including the 1998 Naumburg Chamber Music Award. In 2002 the ensemble was honored with Chamber Music America’s Cleveland Quartet Award and the appointment to Lincoln Center’s CMS Two, and in 2006 was awarded a prestigious Avery Fisher Career Grant, becoming only the second chamber ensemble so honored in the Grant’s long history. Also in 2006 the Quartet was featured on the cover of Gramophone and heralded as one of “five new quartets you should know about,” the only American quartet to make the list. And in 2009, the Quartet was named “Ensemble of the Year” by Musical America.

The Pacifica Quartet has carved a niche for itself as the preeminent interpreter of string quartet cycles, harnessing the group’s singular focus and incredible stamina to portray each composer’s evolution, often over the course of just a few days. Having given highly acclaimed performances of the complete Carter cycle in San Francisco, New York, Chicago, and Houston; the Mendelssohn cycle in Napa, Australia, New York, and Pittsburgh; and the Beethoven cycle in New York, Denver, St. Paul, Chicago, Napa, and Tokyo (in an unprecedented presentation of five concerts in three days at Suntory Hall), the Quartet presented the monumental Shostakovich cycle in Chicago and New York during the 2010-2011 season and in Montreal and at London’s Wigmore Hall in the 2011-2012 season. The Quartet has been widely praised for these cycles, with critics calling the concerts “brilliant,” “astonishing,” “gripping,” and “breathtaking.”

The members of the Pacifica Quartet live in Bloomington, IN, where they serve as quartet-in-residence and full-time faculty members at the Jacobs School of Music. Prior to their appointment, the Quartet was on the faculty of the University of Illinois at Champaign-Urbana from 2003 to 2012. The Pacifica Quartet also serves as resident performing artist at the University of Chicago.



SUNDAY, APRIL 12, 2015 at 3 PM

BEETHOVEN Quartet in F Major, Op. 18 No. 1

SHOSTAKOVICH Quartet No. 5 in B Major, Op. 92

TCHAIKOVSKY Quartet No. 1 in D Major, Op. 11





“The Artemis Quartet plays with vigor, brilliance, and sensitivity. More than that, its performances have clarity of conception and unfussy directness”

—The New York Times

Vineta Sareika, violin
Gregor Sigl, violin
Friedemann Weigle, viola

Eckart Runge, cello

The Berlin-based Artemis Quartet was founded in 1989 in Lübeck and is recognized today as one of the foremost quartets in the world. Since its successful debut at the Berlin Philharmonie in 1999, the quartet has performed in all the great music centers and at international festivals throughout Europe, the US, Japan, South America, and Australia.

As a celebration of its special affinity for Beethoven's music, as well as its 20th anniversary as an ensemble, the quartet embarked on a Beethoven cycle in 2009, which was performed over two seasons in Berlin, Brussels, Florence, Cologne, London, Paris, and Rome. The project culminated in a recording of the complete quartets on Virgin Classics / EMI. Beethoven: Complete String Quartets was awarded the prestigious French Grand Prix de l'Académie Charles Cros.

Since 2004, the Artemis Quartet has programmed its own critically renowned series at the Berlin Philharmonie and, in addition, was named quartet in residence at the Vienna Konzerthaus in 2011.

The Artemis Quartet has had an exclusive recording contract with Virgin Classics / EMI since 2005, and its discography is extensive. The quartet's recordings have been recognized with the prestigious Gramophone Award, as well as the Diapason d'Or and two ECHO Klassik awards.

In addition to their concert careers, the four musicians are professors at the Universität der Künste in Berlin and at the Chapelle Musicale Reine Elisabeth in Brussels.



SUNDAY, APRIL 19, 2015 at 3 PM

VIVALDI The Four Seasons

Kay Stern, violin soloist

Candace Guirao, violin 

Debra Tien, violin

Elizabeth Prior, viola

Thalia Moore, cello

Chris Johnson, bass

Andy Canepa, harpsichord


PIAZZOLLA The Four Seasons of Buenos Aires

Dawn Harms, violin soloist

Seth Asarnow, bandoneon

Chris Johnson, bass

Aileen Chanco. piano  

Guillermo Garcia. electric guitar








Tango meets Baroque! 18th century Venice blends with 20th century Buenos Aires in this invigorating cocktail of musical styles; “Spring” follows “Spring” and “Summer” follows “Summer” as our intrepid band leads the audience on a freewheeling journey spanning centuries and continents. Featuring violin soloists Kay Stern (Vivaldi) and Dawn Harms (Piazzolla)

Antonio Vivaldi wrote the four violin concertos that comprise "The Four Seasons" in Mantua, a beautiful city in northern Italy, as part of a larger set of works  entitled The Contest of Harmony and Invention.  The compositions have proved to be enduringly popular with audiences.

Astor Piazzolla's own instrument was the bandoneón, a cousin of the accordion noted for its unwieldy size and complicated fingering system, which was a favorite instrument in Argentina, especially associated with the tango.  Piazzolla elevated both the bandoneón and the tango to high art.

Originally a classical composer, he went to Paris to study with the influential Nadia Boulanger.  Boulanger said of his Symphony "It’s very well written.  It is like Stravinsky, like Bartok…but where is Piazzolla?" When he confessed to his obsession with tango, she took his hand and said: "Tango - THAT is Piazzolla!”

Piazzolla then created Nuevo Tango (the “new tango” style), fusing elements of tango with jazz, contemporary music and classical idioms.   His own "Four Seasons of Buenos Aires" is actually a set of four tangos written over a span of five years, from 1965 to 1970, that perfectly exemplify his signature style.

It is not often that our stage is shared by a harpsichord and a bandoneon.  Don't miss this event!



SUNDAY, MAY 3, 2015 at 3 PM

CHOPIN Nocturne Op. 9 No. 2
CHOPIN Nocturne Op. 27 No. 1
CHOPIN Ballade No. 2 in F Major
CHOPIN Waltz Op. 64 No. 2

CHOPIN Waltzes Op. 69 No. 1 & 2
CHOPIN Barcarolle
BEETHOVEN Sonata in A-flat, Op. 110
TCHAIKOVSKY Theme and Variations
LISZT Dante Sonata
MOZART/LISZT Marriage of Figaro





"His playing was remarkable for its clarity, transparency of sound and the finesse of expressive detail."

—The Sydney Morning Herald


Nikolay Khozyainov, born in 1992 in Blagoveshchensk, Russia (3,500 miles east of Moscow) is one of the most promising pianists of his generation, showing musical integrity and a maturity beyond his years.

He was the winner of the 1st Prize at the Dublin International Piano Competition in May 2012 and 2nd Prize at the 2012 Sydney International Competition.  Although the youngest finalist in Sydney, he was given awards there for the best performance of a work by Liszt and Schubert, best concerto performance, best virtuoso performance and the People`s Choice Prize.

Mr. Khozyainov began playing piano of his own accord when he was just 5 years old. From 1999 to 2010 he studied at the Central Musical School of the Tchaikovsky Conservatory in Moscow, and since 2005 has been studying with Mikhail Voskresensky.

Nikolay Khozyainov is the winner of numerous awards in international piano competitions, including the 1st prize and a special prize the International Piano Competition "Virtuosi per musica di pianoforte"(Czech Republic, 2003), 1st Prize at the Carl Filtsch Piano Competition (Romania, 2004), 1st Prize at the Scriabin International Piano Competition in Paris (2008) and 2nd prize and special award at the Moscow International Frederic Chopin Piano Competition for Young Pianists.

In 2010, he was the youngest finalist of the Warsaw Chopin Competition. His interpretations of Chopin and his unique musicality made an enormous impression on audience and critics alike. Directly after the competition, the pianist was invited to give recitals at Chopin`s birthplace and in the Chopin Museum in Warsaw.

Mr. Khozyainov has performed in Russia, Belorus, Moldova, Azerbaijan, Poland, Romania, Czech Republic, Malaysia, South Africa, Germany, Switzerland, France, USA and Japan. He has appeared with such orchestras as the Tokyo Symphony Orchestra, Sydney Symphony Orchestra and Warsaw Philharmonic Orchestra. His first CD of Chopin and Liszt, recorded at the Warsaw Philharmonic Concert Hall, was released on the Accord label in 2011 and is available on the Naxos website.  In 2012 the Chopin Institute in Warsaw issued Nikolay`s CD recorded live during the 2010 Chopin Competition.  In October 2012 a CD recorded for JVC Viktor company was released in Japan.

In the 12-13 season Nikolay Khozyainov performed in Japan, the USA (including his Carnegie Hall debut), Mexico and Europe.  In the 13-14 season he performed throughout Austria, Germany, Poland and France and made his Wigmore Hall debut.


SUNDAY, MAY 10, 2015 at 3 PM

BACH Brandenburg Concerto No. 3
BACH Brandenburg Concerto No. 6
VIVALDI Concerto for Two Violins and Two Cellos
LOCATELLI Concerto Four Violins
LULLY Suite from "Le Bourgeois Gentilhomme"


This program will be performed on historically accurate instruments.




Few musical works are as beloved as the six "Brandenburg" Concertos by Johann Sebastian Bach. These six works display a lighter side of Bach's imperishable genius. Yet they came into being as an unexpected gift. That's what happened in 1721 when Bach presented the Margrave of Brandenburg with a bound manuscript containing six lively concertos for chamber orchestra, works based on an Italian Concerto Grosso style. The Margrave never thanked Bach for his work--or paid him. There's no way he could have known that this gift--later named the Brandenburg Concertos--would become a benchmark of Baroque music and still have the power to move people almost three centuries later.

The Concertos are a highlight of one of the happiest and most productive periods in Bach's life. At the time he wrote them, Bach was the Kapellmeister--the music director--in the small town of Coethen, where he was composing music for the court. Since the Margrave of Brandenburg seems to have ignored Bach's gift of concertos, it's likely that Bach himself presided over the first performances at home in Coethen. They didn't have a name then; that didn't come until 150 years later, when Bach's biographer Philipp Spitta called them "Brandenburg" Concertos for the very first time, and the name stuck.

Each of the six concertos requires a different combination of instruments as well as some highly skilled soloists. The Margrave had his own small court orchestra in Berlin, but it was a group of mostly mediocre players. All the evidence suggests that these virtuosic Brandenburg concertos perfectly matched the talents of the musicians on hand in Coethen. So how did a provincial town get so many excellent musicians? Just before Johann Sebastian arrived in Coethen in 1717, a new king inherited the throne in Prussia. Friedrich Wilhelm I became known as the "Soldier King" because he was interested in the military strength of his kingdom, not in refined artistic pursuits. One of his first royal acts was to disband the prestigious Berlin court orchestra. That threw many musicians out of work, and as luck would have it, seven of the best ones were snatched up to work in Coethen by its music-loving Prince Leopold. That's why Bach found such a rich music scene when he started to work there. It gave him the luxury of writing for virtuosos and they let him push the boundraries of his creativity. Concerto No. 2, for example, has the trumpeter play high flourishes. No. 4 allows the solo violin to soar.

Even though he himself didn't call them the "Brandenburgs," Bach still thought of them as a set. What he did was compile them from short instrumental sinfonias and concerto movements he had already written. Then he re-worked the old music, often re-writing and elaborating where he saw fit.