Outstanding Russian conductor Vladimir Spivakov and the Moscow Virtuosi chamber orchestra in a special concert “From Haydn to Piazzolla” at London’s Barbican Hall.
Eminent violinist Vladimir Spivakov is renowned throughout Russia as the founder and director of the Moscow Virtuosi chamber orchestra and the National Philharmonic Orchestra of Russia. He is also recognized worldwide for his brilliant performances as a recitalist, guest soloist and guest conductor of leading orchestras, and for his humanitarian activities. He has played with numerous orchestras under great conductors such as Bernstein, Solti, Ozawa, Maazel, Abbado, Guilini and others.
Vladimir Spivakov founded the Moscow Virtuosi in 1979, setting the highest performance standards from the outset, which have more than justified its aspirational name. Every year the orchestra gives over 100 concerts, mostly when on tour. The list of places visited is extensive and includes all regions of Russia, many European countries, the United States of America, Canada, Turkey, Israel, China, Japan etc. Performances are characterized by an essentially European approach to ensemble, concern for detail and nuance, attentive and creative interpretation of a composer’s vision, and a deep love for the music being played. Coupled with exceptional artistic talent and a desire to inspire the audience (and no small thanks to Vladimir Spivakov) the result is undoubtedly one of the finest ensembles in the world.
Maestro Spivakov and the Moscow Virtuosi at London’s Barbican Hall – exemplifies orchestral chamber music at its best and for this special concert Maestro Spivakov has selected the finest music by some of our greatest composers, among which are Haydn and Piazzolla. While Joseph Haydn’s music is joyful, sophisticated and light, Piazzolla adds passion and brings an Argentinian tango spirit to the evening.
Maestro Spivakov talks about preparing for the concert: “Every composer is different and you need a separate key to decode each one. You need to understand their era and style, and to love them. Notes are more than just black dots on the stave. You must know everything about a composer – who their friends were, who they loved, what was happening at the same time in the arts, which books they read. When I rehearse I imagine how the music will sound, which tempo marking I will choose and how to make sure that the details do not blot out the whole, how to grasp the entire structure. I dig deep into the score, take my cue from the period when it was written, from the composer’s style, from my own meagre experience”.