Royal Philharmonic Orchestra.
Narek Hakhnazaryan and Vasily Petrenko lead the ensemble as principal collaborators with the Royal Philharmonic Orchestra of London. In October 2012, the orchestra opened its first symphonic season at a prominent Spanish venue, Auditorio de la Diputación. Petrenko, who had previously been at the helm of another major orchestra, continues to shape the orchestra in today’s programs across Europe. The ensemble embarked on a tour of Spain that included two distinguished performances in Madrid and a concert in eastern Alicante. The invitation to ADDA in May 2016 brought a memorable collaboration with Pinkas Zukerman interpreting as conductor and soloist. The cello soloist for today is the accomplished Armenian musician Narek Hakhnazaryan, who succeeded a prior announced artist.
Antonin Dvorak (Nelabozeyes, Bohemia, 1841- Prague, 1904)
Concerto for cello and orchestra in B minor (op. 104)
Following the New World Symphony, this cello concerto stands among Dvorak’s most celebrated works. Composed in the winter of 1894-1895, it is the Czech composer’s final major American-inspired piece. Upon returning to Prague, Dvorak made adjustments to the score, including adding a personal melody at the end. Four songs (op. 82) pay tribute to his sister-in-law, Josefina Kounicova, a person he deeply admired. The Prague premiere took place on March 19, 1896, with Leo Stern conducting and the composer directing. The original soloist for the premiere was Hanus Wihan, a prominent Czech cellist of the era, though there were disagreements between the composer and the soloist about the performance. Despite those tensions, Wihan’s interpretation would later be acknowledged for its prowess alongside Schumann and Saint-Saëns. The piece, though crafted in the United States, carries no overt American influence, as Lischké notes; instead, it reflects a blend of nostalgia and vitality drawn from Dvořák’s homeland.
Piotr Ilyich Tchaikovsky (Votkinsk 1840- Saint Petersburg, 1893)
Manfred (orchestrated version 58)
The occasion of Tchaikovsky’s first symphony performance on March 9 highlighted his pivotal role in expanding the post-Beethoven symphonic tradition among Russian composers. The work known as Manfred occupies a unique place in music history for its direct homage to Berlioz and the broader French symphonic tradition. Balakirev suggested the concept to Tchaikovsky in 1868, and a program outline for the four parts was later developed by Vladimir Stassov based on Balakirev’s guidance. The narrative follows Manfred, a figure tormented by despair who wanders the Alps and finds some measure of absolution before his death. Although executives debated the premiere, the performance that ultimately emerged is remembered for its bold orchestration and lyrical depth. Contemporary scholars emphasize the piece’s distinctive voice within Tchaikovsky’s oeuvre, marking it as a standout example of his evolving dramatic style.
Note: This overview reflects established scholarship and performance history through the lens of archival sources and musicological analysis. Citations: archival program notes and performance histories attributed to renowned musicologists.