KIRILL GERSTEIN

Alan Gilbert & Kirill Gerstein

The Russian-American pianist Kirill Gerstein will launch his BRSO residency, not with a piano concerto, but with two works for piano and orchestra that beggar comparison in their virtuosity, witty playfulness and range of expression. Rachmaninoff’s Rhapsody on a Theme of Paganini (1934) and the 21-year-old Strauss’s Burlesque take listeners through a gigantic panoply of moods and sounds, from diabolical fury to saucy parody, from mighty upsurges to the most delicate of reveries. Just the right milieu for Kirill Gerstein, a straddler of musical eras, of classical music and jazz, and an artist of enormous flexibility and exploratory verve. To enrich the brew, Alan Gilbert, the principal conductor of the NDR Elbphilharmonie Orchestra, will present Schoenberg’s brilliant orchestration of Brahms’s Piano Quartet in G minor. Schoenberg’s quip, that his arrangement is Brahms’s fifth symphony, is as cogent today as ever before.

Alan Gilbert & Kirill Gerstein

The Russian-American pianist Kirill Gerstein will launch his BRSO residency, not with a piano concerto, but with two works for piano and orchestra that beggar comparison in their virtuosity, witty playfulness and range of expression. Rachmaninoff’s Rhapsody on a Theme of Paganini (1934) and the 21-year-old Strauss’s Burlesque take listeners through a gigantic panoply of moods and sounds, from diabolical fury to saucy parody, from mighty upsurges to the most delicate of reveries. Just the right milieu for Kirill Gerstein, a straddler of musical eras, of classical music and jazz, and an artist of enormous flexibility and exploratory verve. To enrich the brew, Alan Gilbert, the principal conductor of the NDR Elbphilharmonie Orchestra, will present Schoenberg’s brilliant orchestration of Brahms’s Piano Quartet in G minor. Schoenberg’s quip, that his arrangement is Brahms’s fifth symphony, is as cogent today as ever before.

Daniel Harding & Kirill Gerstein

Daniel Harding & Kirill Gerstein

Antonello Manacorda & Kirill Gerstein

Antonello Manacorda & Kirill Gerstein

Daniel Harding & Kirill Gerstein

Iván Fischer & Kirill Gerstein

The genesis of Brahms’ First Piano Concerto proved to be an arduous affair. Originally Brahms wanted to write a sonata for two pianos, and then a symphony, until the work finally became what it is today: a classic of its genre – and a masterpiece of the concerto literature. For keyboard virtuoso Kirill Gerstein, it is an “incredibly noble, introspective piece with wonderfully lyrical motifs that subtly lie beneath the surface like watermarks.” It was a defining work for Brahms, who was 25 years old at the time. Conductor Iván Fischer juxtaposes it with Dvořák’s Eighth Symphony: a work that enabled Dvořák to finally step out of the shadow of his friend and patron Brahms, and probably one of his most famous and most popular due to its lively cheerfulness, easy-going optimism, and unbroken joie de vivre.

Iván Fischer & Kirill Gerstein

The genesis of Brahms’ First Piano Concerto proved to be an arduous affair. Originally Brahms wanted to write a sonata for two pianos, and then a symphony, until the work finally became what it is today: a classic of its genre – and a masterpiece of the concerto literature. For keyboard virtuoso Kirill Gerstein, it is an “incredibly noble, introspective piece with wonderfully lyrical motifs that subtly lie beneath the surface like watermarks.” It was a defining work for Brahms, who was 25 years old at the time. Conductor Iván Fischer juxtaposes it with Dvořák’s Eighth Symphony: a work that enabled Dvořák to finally step out of the shadow of his friend and patron Brahms, and probably one of his most famous and most popular due to its lively cheerfulness, easy-going optimism, and unbroken joie de vivre.

Iván Fischer & Kirill Gerstein

The genesis of Brahms’ First Piano Concerto proved to be an arduous affair. Originally Brahms wanted to write a sonata for two pianos, and then a symphony, until the work finally became what it is today: a classic of its genre – and a masterpiece of the concerto literature. For keyboard virtuoso Kirill Gerstein, it is an “incredibly noble, introspective piece with wonderfully lyrical motifs that subtly lie beneath the surface like watermarks.” It was a defining work for Brahms, who was 25 years old at the time. Conductor Iván Fischer juxtaposes it with Dvořák’s Eighth Symphony: a work that enabled Dvořák to finally step out of the shadow of his friend and patron Brahms, and probably one of his most famous and most popular due to its lively cheerfulness, easy-going optimism, and unbroken joie de vivre.