The Folly Theatre
Kirill Gerstein kicks off April with a double-whammy of Gershwin, performing ‘Rhapsody in Blue’ and the Piano Concerto in F from 7-9 April with the St Louis Symphony Orchestra and David Robertson. A week later, he travels to Bogota in Colombia to present the 1879 version of Tchaikovsky’s First Piano Concerto with the Lucerne Symphony and James Gaffigan on 14 April, the conductor with whom he recorded the work in 2015 for myrios classics.
At the end of the month, Gerstein presents recital programmes in Berlin at the Jerusalem International Chamber Music Festival on 26 April, in Hamburg at the Elbphilharmonie on 27 April and in Dusselforf at the Stiftung Museum Kunstpalast on 30 April.
A busy March sees Kirill Gerstein travel to Boston, Copenhagen, Sao Paulo and Cologne for concerto engagements, starting at the beginning of the month in New York and Durham, NC to perform Brahms’ Piano Quintet with the Hagen Quartet. Busoni’s Piano Concerto with the Boston Symphony under Sakari Oramo on 10-11 March is followed a week later by Tchaikovsky’s Piano Concerto No. 1 (1879 version) with the Danish National Symphony under John Storgaards on 16 March. Rachmaninov dominates the end of the month with performances of Piano Concerto No. 2 from 23-25 March with the Sao Paulo Symphony and Rhapsody on a Theme of Paginini on 31 March and 1 April with the WDR Sinfonieorchester Köln.
On 2, 3, 4 and 7 February, Kirill Gerstein joins Semyon Bychkov in his celebration of Tchaikovsky with the New York Philharmonic performing the 1879 version of the composer’s First Piano Concerto. Later in the month, he travels to Vancouver to perform Brahms’ First Piano Concerto on 18 and 20 February as well as New Jersey for four performances of Rachmaninov’s Second Piano under the orchestra’s new Music Director Xiang Zhang from 23-26 February.
“Think you know Tchaikovsky’s Piano Concerto No. 1? Think again.
It’s one of the most popular pieces in the repertoire. But the pianist Kirill Gerstein, as inquisitive as he is talented, argues that what we commonly hear is an overly ostentatious misrepresentation, tarted up after Tchaikovsky’s death.
From Thursday through Feb. 7 with the New York Philharmonic, Mr. Gerstein plays a new critical edition, more delicate and less grandiose. Based on an 1879 version, it has among its sources Tchaikovsky’s own conducting score, which he used in a St. Petersburg concert nine days before his death in 1893. It is therefore closer to the music performed at Carnegie Hall’s opening week in 1891 than anything heard by New Yorkers since. Here are edited excerpts from a conversation with Mr. Gerstein.”
You can hear Kirill at the New York Philharmonic February 2-7. Tickets are available here.