Recently, the Moscow Committee for Culture established and took over the former TV-6 orchestra, the "Russian Philharmonic," under the direction of Alexander Vedernikov. With an inaugural concert in the Great Hall of the Conservatory, the "Luzhkov" ensemble demonstrated its professional suitability.
After operating for three years (1995-1998) under the auspices of its original founder, TV-6, the "Russian Philharmonic" was abolished in August 1998. Memories of the event include several music programs, a CD of Dunaevsky's music, and a sold-out premiere of Krzysztof Penderecki's 13-minute opus "Glory to St. Daniel, Prince of Moscow" at the Great Hall of the Conservatory. The fact that, a year and a half later, the orchestra was reassembled under the same conductor, Alexander Vedernikov Jr., is a source of admiration. Forty musicians from the former lineup joined it. Their youth, passion, and obvious affinity for the 38-year-old leader and artistic director can already be interpreted as a winning platform for the youngest of Moscow's symphony orchestras.
The program for the reborn Philharmonic Orchestra's first performance proved to be more than ambitious. The first half featured Wagner (the overture and bacchanal from "Tannhäuser," the intermission to Act III of "Lohengrin," and the overture to "Die Meistersinger von Nürnberg," plus two vocal numbers with the American tenor Ronald Hamilton). The second half featured Scriabin's "Prometheus" (piano by Sergey Erokhin, Spain). Much of what was conveyed was encouraging (even compared to such advanced ensembles as the Russian National and Bolshoi Symphony Orchestras). Disciplined linework, a fresh sound, complete rapport with the conductor, and superbly crafted solos from the first violin, clarinet, French horns, and trumpet.
At the press conference before the concert, Alexander Vedernikov made no secret of the fact that, when developing the Russian Philharmonic's strategy, he took into account both real competition with other orchestras and the challenges of recruiting musicians. Of the hundred players at his disposal, the conductor speaks fondly of the brass players (he's very proud of the horn quartet) and laments the lack of violins. Sadly, during the Wagner performance, this very circumstance tipped the balance toward the brass. It was, however, first-class and exceptionally diligent. In the absence of string depth, the performance remained as even as possible, centered on fine-tuned climaxes and polished ensemble sections.
Of the two solo partners from the Russian Philharmonic, the flexible and stylistically competent Sergei Erokhin, a Muscovite émigré and a student of Dmitry Bashkirov's piano class, was the better fit. Supplemented by Andrei Kozhevnikov's choir and organ (Lyudmila Golub), Prometheus produced a surprising effect. Vedernikov so skillfully rationalized the triple union of piano, choir, and orchestra; He so cleverly avoided the usual extremes of performance—both radiant pomp and salon symbolism. The son of the renowned bass Alexander Vedernikov has proven himself an excellent conductor. Moscow City Hall has made a fine acquisition.
Source.
After operating for three years (1995-1998) under the auspices of its original founder, TV-6, the "Russian Philharmonic" was abolished in August 1998. Memories of the event include several music programs, a CD of Dunaevsky's music, and a sold-out premiere of Krzysztof Penderecki's 13-minute opus "Glory to St. Daniel, Prince of Moscow" at the Great Hall of the Conservatory. The fact that, a year and a half later, the orchestra was reassembled under the same conductor, Alexander Vedernikov Jr., is a source of admiration. Forty musicians from the former lineup joined it. Their youth, passion, and obvious affinity for the 38-year-old leader and artistic director can already be interpreted as a winning platform for the youngest of Moscow's symphony orchestras.
The program for the reborn Philharmonic Orchestra's first performance proved to be more than ambitious. The first half featured Wagner (the overture and bacchanal from "Tannhäuser," the intermission to Act III of "Lohengrin," and the overture to "Die Meistersinger von Nürnberg," plus two vocal numbers with the American tenor Ronald Hamilton). The second half featured Scriabin's "Prometheus" (piano by Sergey Erokhin, Spain). Much of what was conveyed was encouraging (even compared to such advanced ensembles as the Russian National and Bolshoi Symphony Orchestras). Disciplined linework, a fresh sound, complete rapport with the conductor, and superbly crafted solos from the first violin, clarinet, French horns, and trumpet.
At the press conference before the concert, Alexander Vedernikov made no secret of the fact that, when developing the Russian Philharmonic's strategy, he took into account both real competition with other orchestras and the challenges of recruiting musicians. Of the hundred players at his disposal, the conductor speaks fondly of the brass players (he's very proud of the horn quartet) and laments the lack of violins. Sadly, during the Wagner performance, this very circumstance tipped the balance toward the brass. It was, however, first-class and exceptionally diligent. In the absence of string depth, the performance remained as even as possible, centered on fine-tuned climaxes and polished ensemble sections.
Of the two solo partners from the Russian Philharmonic, the flexible and stylistically competent Sergei Erokhin, a Muscovite émigré and a student of Dmitry Bashkirov's piano class, was the better fit. Supplemented by Andrei Kozhevnikov's choir and organ (Lyudmila Golub), Prometheus produced a surprising effect. Vedernikov so skillfully rationalized the triple union of piano, choir, and orchestra; He so cleverly avoided the usual extremes of performance—both radiant pomp and salon symbolism. The son of the renowned bass Alexander Vedernikov has proven himself an excellent conductor. Moscow City Hall has made a fine acquisition.
Source.
The 'Russian Philharmonic' morphed from the TV-6 orchestra into Mayor of Moscow Luzhkov's orchestra
Elena CHEREMNYKH, Kommersant, March 21, 2001
