The Music Life magazine, November 2013
AROUND THE WORLD IN ONE EVENING
The Russian Virtuosi of Europe’s concert at the Chamber Hall of the Moscow
Conservatoire
This unique, young ensemble comprises primarily Russian speaking musicians who are graduates
of the most prestigious conservatoires in Europe. Contrary to the Homecoming Festival, which
brings together musicians who have returned to Russia after spending a significant time abroad,
the Russian Virtuosi unites musicians who live and have achieved recognition outside Russia.
The Virtuosi will celebrate their 10th anniversary next year. Since their debut at Wigmore Hall in
London in 2004, they have earned the reputation as one of the foremost chamber groups on
today’s musical scene.
The ensemble's founder, Russian violinist Yuri Zhislin, is continuing a well known musical
dynasty. He graduated from the Royal College of Music in London, having won major prizes at
international competitions in France, Italy, Spain, Lithuania and the USA. As does his father
Grigori Zhislin, Yuri gives concerts both as a violinist and violist in Europe, Americas, Japan,
Australia and New Zealand. Despite his busy schedule, Yuri dedicates much of his time and
energy to the ensemble. The list of world class musicians with whom Yuri has shared the stage
speaks for itself including Dmitry Sitkovetsky, Liana Isakadze, Ivan Monighetti, Alexander Rudin,
Barry Douglas, Maria Joao Pires. With this wealth of performing experience, Yuri takes charge of
the Russian Virtuosi of Europe.
The refined programming of their Moscow concert included many musical rarities and was built
as an ongoing journey across countries and continents. The concert opened with Bach's 'Ricercar
a 6' from the Musical Offering. From the outset, the deep chemistry between the players was
evident as was their intimate understanding of the work's polyphonic nature. One might have
expected individual voices to be more developed, but it was just a matter of the ensemble
'warming up'. And warm up they did, in the next work – Elgar’s Introduction and Allegro for
string quartet and chamber orchestra.
This work was composed in 1905 for the newly formed London Symphony Orchestra. Through his
selection of sophisticated players, Elgar wanted to demonstrate the high levels of virtuosity
between the orchestra's string sections and generously used all kinds of acrobatic effects. The
composition is full of finger breaking passages and counterpoint, with the concluding Allegro at
the end marked 'Piu animato' coupled with a fugue, which Elgar himself branded 'devilish'.
The David Oistrakh Quartet was joined by prize winning violinist Andrey Baranov. Recently
formed, the Quartet acquired Oistrakh's name in 2012. Their biography states that besides
classical repertoire, they 'specialise' in music written by Oistrakh's contemporaries. Perhaps this
experience assisted the musicians to clearly distinguish the individual parts between the quartet
and ensemble and not allow the prevailing majority of ensemble players overpower their quartet
colleagues.
An energetic Concertino for two celli and string orchestra by Colombian composer Arturo Cuellar
concluded the first half of the concert. On previous visits to our country in both Moscow and
St Petersburg, Cuellar performed his Piano Concerti which were well received. On this occasion,
he was on the podium, to conduct the Concertino.
A performance of Erwin Schulhoff's String Sextet at the beginning of the concert's second half
had a truly mind blowing effect. Schulhoff's music is seldom performed in Russia, although many
of his jazz orientated compositions are favoured by some pianists. Nevertheless the works of this
composer, whose life tragically ended in a concentration camp in 1942, deserve our utmost
attention. The Sextet was written in 1924 when the composer was 30 years old and at the height
of his fame. The grotesque elements that he uses in his music in search of musical form and
means of self - expression reflected, according to his vision, an intense rhythm of life of the 20th
century. Schulhoff's works were performed at all the major festivals throughout 1920's with the
Sextet premiering successfully on July 19, 1924 at a festival in Donaueschingen with the Zika
Quartet, violist Paul Hindemith and his cellist brother, Rudolf. However, this profound, technically
challenging and deeply tragic work did not receive the attention it deserved and remained
unpublished until 1978. Moscow concertgoers last heard the Sextet at the Homecoming Festival
in 2002.
The Virtuosi's rendition of the Sextet turned out to be a true revelation. The musicians reached
the highest levels of concentration, vividly demonstrating all the 'details' of this profound work. It
is as if throughout the Sextet Schulhoff had a dialogue with his contemporaries who meant a lot
to him spiritually. Thus, one can sense that the young composer was strongly influenced by
Schoenberg, whose works he studied thoroughly, in the first movement marked Allegro Risoluto.
Despite the apparent atonality, there is an important three - note motive (C - D flat - G) which
literally pierces the entire work.
The first and second movements are based on it, with the latter also showing the influence of
Debussy's late instrumental works. A wild and technically sophisticated Burlesque precedes the
finale, marked Molto Adagio where one again senses Debussy's invisible presence.
All this was subtly felt and expressed by the musicians, especially by violinists Yuri Zhislin and
Natalia Lomeiko, whose interpretation of the meditative episodes in the slow movements were
particularly impressive. Their exclusive sound quality at times became almost immaterial. The
work finished with a muffled chord of the three notes (C - D flat - G), leaving us frozen, with a
feeling of a deep personal statement.
Perhaps, one should have concluded an evening here, gently fading into silence... but we were
fortunate to be given a Finale in the form of Grieg's Holberg Suite.
This widely popular work is considered to be a 'hit' of its kind and often interpreted in a
glamorous and unpretentious manner. The composer's idea of creating a Suite that is based on a
model of orchestral works by Holberg's contemporaries, Bach and Handel and dedicated to the
memory of the great human rights activist of the past, often goes unnoticed.
As the work progressed, the Russian Virtuosi gave us a breath of fresh air, the magic spell
gradually lifted, and we were brought back to reality. This transition, which one can compare to
moving from the room of postmodern paintings into the world of easily reachable and close to
the heart 19th century landscapes, allowed us to fully appreciate the high level of the ensemble's
'teamwork', their ability to produce sound that was concentrated, dense and compact at the
same time.
One must emphasise that this is an ensemble rather than a full scale chamber orchestra. The
music flowed naturally, full of life and breath.
In all the Arias, the musicians carefully observed the composer's 'Religioso' marking and
immersed us into the state of deep meditation.
Unfortunately, there are many sorry attempts by the third rate orchestras who
ambitiously take centre stage in the capital's major concert halls and yet leave no meaningful
impression. With the Russian Virtuosi, one can embark upon any musical journey with
confidence.
So, to sum up, one must ask the question – Is it possible that a true change of the
concert life and repertoire is going to be forthcoming? And should we not be handing it over to
the talented youth without fear?
For now – we await Yuri Zhislin's concert at the Moscow Philharmonic Chamber Hall at the
beginning of April with keen anticipation. Surely one not to be missed!
Alexander Tsereteli