Quatuor Meccore – Presse

World-class. The Meccore String quartet shines / « De renommée internationale. le Quatuor Meccore brille »

“The quartet, founded in 2017 and multiply prize winning, has realized in August Everding hall works by Grieg, Schostakowitsch and Tschaikowsky with such fire, such stage presence, such a really unique dance-like impetus and such infalliable taste like only an absolute world-class ensemble is possible to do.”

Harald Eggebrecht, Süddeutsche Zeitung, January 2018

https://www.sueddeutsche.de/kultur/kurzkritik-weltklasse-1.3839174

Exceeded expectations / « Attentes dépassées »

“Among experts, the Meccore String Quartet is reckoned the best Polish string quartet. (…) Across Europe there are extremely few quartets so young but who play at such a high level. Four stylists who left their ‘Sturm und Drang’ period behind and passionately explore the works they chose, displaying a delicate technical acuteness which, at the same time, leaves room for emotional emphasis.”

Ulrich Pfaffenberger, Süddeutsche Zeitung, December 2017

https://www.sueddeutsche.de/muenchen/ebersberg/erwartungen-uebertroffen-gluehendes-eis-1.3787642

Stupendous Virtuosity and Emotion / « Virtuosité et émotion stupéfiantes »

“The Polish quartet (…), among the most exciting ones of their generation, performed with fervour, excelled in fascinating contrasts, and displayed elaborate phrasing. (…) The four stunning virtuosi created powerful suspense and dynamics, seizing the audience to follow with tangible concentration on a continuously high level. Bravos, cheers and stamping feet already after the first piece and before the intermission acclaimed a performance as much refreshing as musically convincing.”

Udo Watter, Süddeutsche Zeitung, April 2017

https://www.sueddeutsche.de/muenchen/landkreismuenchen/konzert-in-pullach-saitenkuenstler-mit-herz-1.3454592

The best Polish string quartet ever – « Le meilleur quatuor polonais de tous les temps »

“Meccore quartet make a unique use of dynamics and phrasing. Their interpretations of Beethoven, Szymanowski and Sibelius are like holy fire pouring from the skies. The best Polish string quartet ever. The four have Beethoven’s music under their skins. »

Lidy van der Spek, « Algemeen Dagblad », November 2016

« Arrivent les quatre musiciens du Quatuor Meccore pour le Concerto en fa mineur. Ils jouent debout, le violoncelliste sur une petite estrade le mettant à la même hauteur que ses camarades. Ils appuient sur leurs archets, ancrent leur main gauche sur le manche de leurs instruments, poussent leur sonorité qui porte jusqu’au premier balcon avec une plénitude impressionnante » – Alain Lompech

https://bachtrack.com/fr_FR/critique-blechacz-quatuor-meccore-chopin-philharmonie-paris-juin-2019

Magnetizing – « Magnétique »

« They sound so magnetizing that you forget it’s a string quartet playing. Even the slightest nuance of the piece is gleaming. »

Susanne Pütz, « HR2 Kultur », August 2016


Répertoire 21-22-23 et programmes du Quatuor Meccore

Répertoire

  • J. S. Bach – Die Kunst der Fuge (selection)
  • J. Haydn – String Quartet in C major op. 20 no. 2
  • L. van Beethoven – String Quartet in A major op. 18 no. 5
  • G. Verdi – String Quartet in E minor
  • G. Puccini – “Crisantemi” for string quartet
  • R. Schumann – String Quartet in A minor no. 1 op. 41
  • G. Bacewicz – String Quartet no. 5
  • K. Penderecki – Complete String Quartets and String Trio
  • Optional Polish repertoire:
  • K. Szymanowski – String Quartet no 2 op. 56

Exemples de programmes

  • J. Haydn – String Quartet in F major op. 20 no. 2
  • G. Bacewicz – String Quartet no. 5
  • — intermission —
  • R. Schumann – String Quartet in A minor no. 1 op. 41

  • K. Penderecki – String Quartet no. 3
  • L. van Beethoven – String Quartet in A major op. 18 no. 5
  • — intermission —
  • G. Verdi – String Quartet in E minor

  • K. Penderecki – Complete String Quartets and String Trio

  • Program 4.
  • J. S. Bach – Die Kunst der Fuge (audio + video + reading)


Sasha Rozhdestvensky – Presse

Disque Miakovsky – Shebalin – Nechaev: 

« …there can be nothing but praise for the performances by Sasha Rozhdestvensky and Viktoria Postnikova (mother and son, linked by the recently late Gennadi Rozhdestvensky), played with conviction, technical ability and evident rapport, and beautifully recorded into the bargain, the instruments immediate, well-balanced and faithfully captured. Presentation and annotation are also excellent. » (Classical Source, *****)
Full review here: http://www.classicalsource.com/db_control/db_cd_review.php?id=15567

« This is a valuable addition to the discography and it’s played with real conviction… this is a praiseworthy release. » (MusicWeb International)
http://www.musicweb-international.com/classrev/2018/Aug/Myaskovsky_violin_FHR57.htm

Disque  Ravel: CHOC de Classica, mai 2012 – Meilleure prise de son – Classica, juin 2012

« Tzigane (1924) trouve en Sasha Rozhdestvensky l’un des meilleurs interprètes. La profondeur de son jeu sidère dans cette pièce de haute voltige où il allie avec naturel, charme et nervosité. Une éloquence qu’il retrouve avec sa partenaire, Josiane Marfurt, pour la Sonate, créée par le compositeur au piano, avec George Enescu au violon, en 1927. Le soliste capte merveilleusement bien l’esprit de liberté qui souffle sur cette partition (…) Une interprétation renouvelée de l’œuvre de Ravel. »       Franck Mallet – Classica, mai 2012

« Praga Digitals, l’excellent label fondé par Pierre-Emile Barbier, a eu raison d’ajouter ce violoniste à son prestigieux catalogue. Pour preuve, ce programme consacré à Ravel. Le musiciens affronte sans faillir les difficultés de Tzigane dont il livre une interprétation malgré tout plus somptueuse que passionnée. Une prise de son précise et aérée – marque de fabrique de cette maison – valorise le timbre de qualité supérieure cultivé par le violoniste et restitue fidèlement son jeu contrôlé jusque dans les moindres détails. »                                                                                        Sébastien Foucart – ConcertoNet, 2 novembre 2011

« Comme son archet est sûr et ses phrasés variés, comme il sait mettre l’accent – sans trop insister – sur le fait qu’à chaque oeuvre correspondant un style et un univers différents, comme sa Tzigane à la pointe sèche est un modèle d’élégance (à défaut d’être aussi sensuelle qu’on l’aimerait), son récital s’écoute d’une traite. La pianiste suisse Josiane Marfurt et le violoncelliste Michal Kanka, membre du Quator Prazak, sont mieux que des faire-valoir.                                                                               François Lafon – Musikzen, 29 décembre 2011

« Voilà Pierre-Emile Barbier faisant appel à un instrumentiste russe et pas n’importe lequel, Sasha Rozhdestvensky, dont Yehudi Menuhin avait déclaré qu’il serait un des violonistes les plus raffinés et talentueux de sa génération. L’écoute de ce CD démontre le bien-fondé de la prédiction de Menuhin. (…) Il donne à Ravel son plein d’allant, le jouant avec force et Jubilation, avec l’autorité de celui qui domine pleinement son instrument et conduit le chant dans sa nudité exactement comme il veut le conduire. (…)

CD Tchaïkovsky

Le hasard des sorties fait que paraît presqu’en même temps, chez Delos, un CD des œuvres pour violon et piano de Tchaïkovsky – toujours avec la pianiste Josiane Marfurt – qui témoigne des mêmes remarquables qualités.                                                                                          François Eychart – Les Lettres françaises, mars 2012

« Sasha Rozhdestvensky trouve le ton juste entre l’expressivité et le bon goût. (…)Rozhdestvensky fait admirablement sonner son violon, d’ue manière charnue, chaleureuse, avec un timbre très intéressant, qui l’apparente incontestablement aux grands du violon russe. »     Jacques Bonnaure – Classica, février 2012

« Sasha Rozhdestvensky montre une sure technique, jadis louée par Yehudi Menuhin, une sonorité pleine mais aussi épurée, à l’aise dans cet idiome qui est le sien. Il est magnifiquement soutenu par la pianiste suisse Josiane Marfurt. »                                 Jean-Pierre Robert – L’éducation musicale, 1er décembre 2011


Alexander Ghindin – Presse

Mr. Ghindin ended by conquering the devilish demands of Liszt’s Sonata in B minor, the highlight of the evening. The enthusiastic audience was rewarded with three encores.

THE NEW YORK TIMES

The LPO conducted by Vladimir Jurowski and Russian pianist Alexander Ghindin – performing the original version of Rachmaninov’s Piano Concerto No. 1 – presented a thoroughly enjoyable and fascinating performance. Both Jurowski and Ghindin were totally committed to showcase the composition at its best. Ghindin, in his Prom debut, manifested full control and controlled passion without any showmanship. His dedication to every note of the virtuoso material and his mastery of cantilena playing did more than justic to Rachmaninov’s first version of the concerto.

SEEN & HEARD INTERNATIONAL

It must have been the thrill of their relatively young lives, playing a cornerstone of the repertory with the Cleveland Orchestra in Severance Hall. The lucky – and gifted – four were the finalists in the 17th biennial Cleveland International Piano Competition. It was Alexander Ghindin of Russia who garnered the whopping first prize for a series of muscular and assured performances, including a grandly conceived account of Liszt’s B-minor Sonata in the semifinals and a potent and nuanced reading of Rachmaninoff’s Third Concerto. Of the four, only Ghindin possessed the stage maturity of a world-class professional pianist.

MusicalAmerica.com

As a pianist, Ghindin is a formidable presence. His tone is big, and he elicits cataracts of sound from the instrument. There is great strength in his arms, wrists and fingers, and he is not afraid to unleash it. His technique, too, is developed to such a degree that he is able to respond to whatever impulse might occur to him at the moment. It makes for an exciting, unpredictable recital experience, in which a well-considered structural and narrative approach is the canvas on which he executes, vivid, sometimes mercurial flashes of inspiration.

THE PLAIN DEALER (Cleveland)

Ghindin Splendid with Rachmaninov [headline]
One could have imagined Rachmaninov himself at the keyboard with an Ormandy-era Philadelphia Orchestra behind him as guest soloist Alexander Ghindin tore into the Rachmaninov First Piano Concerto with Kevin Rhodes at the helm of the Springfield Symphony. It was that good. In pre-concert interviews, Rhodes made grand promises for Ghindin’s performance; Ghindin and everyone on stage delivered the goods, utterly justifying the standing ovation that swept the crowd.

THE REPUBLICAN (Springfield, MA)

In the case of the Piano Concerto No. 3 in C Major by Prokofiev, as performed by Alexander Ghindin, we’re talking a whole lot of real, honest notes played extraordinarily well. He is one of those rare pianists who combines expressiveness with finely honed technique, so that every note he plays is struck with laser-like precision, yet each passage is so perfectly phrased that the music sounds as if he is improvising on the spot – that the soloist is not so much playing along with the orchestra as challenging it, dueling with it. Ghindin responded to the heartfelt standing ovation he received with an encore that was completely surprising and completely wonderful – John Philip Sousa’s The Stars and Stripes Forever, performed in a way that can only be described as orchestral.

TULSA WORLD

The history of musical competitions shows that only a handful of top-prize winners go on to major concert careers. But Ghindin’s first recital here since taking first prize in August confirmed that he is no pianistic fluke. He was poetic and charismatic in ‘From Russia with Love,’ his program at the Cleveland Institute of Music. The advertising turned out to be truthful: The repertoire remained firmly entrenched in the pianist’s homeland, and he played as if he adored each of the gazillion notes his fingers projected.

THE PLAIN DEALER (Cleveland)

The enthusiasm of Ghindin’s playing is hard to resist, and Tchaikovsky’s huge Sonata doesn’t appear on disc so often that a performance with such sweep and grandeur can be easily ignored.

THE GUARDIAN (England)

Sasha’s performance was stunning. We have had many fine pianists play for us, but none of them have come close to engendering the level of excitement and enthusiasm in our audience as he has – both last night and in his first recital for us in 2009. He is a rare artist: serious and imaginative in creating his programs and interpretations; generous and exuberant in performance. A very special talent.

Arthur Scott, Chair – Artistic Selection Committee – Del Valle Fine Arts (Livermore, CA)

An Aristocrat and a Poet
In Alexander Ghindin we are fortunate to find the perfect combination of artist and musician. His whisper, like that of great tragic actors of the past, is heard clearly even in the last row of the balcony, and his ‘shout’ never exceeds that of genuine emotion. He has total control of the Hall, speaking to each listener personally, conveying the innermost meaning of the piece he is playing.

EVERYTHING ABOUT THE PIANO WORLD (Moscow)

Rimsky-Korsakov’s Concerto is a charming work, full of folksy whimsy, light-spirited sparkle and Russian ‘fragrance’. The twists and turns of the opening Moderatowere fleetly negotiated by Jurowski and his soloist, Alexander Ghindin, and there was a refreshing airiness. Ghindin had all the notes under his fingers and conjured a sense of freedom and invention: the light touch of the trickling cascades provided glitter but there was also apt power when required.

SEEN & HEARD INTERNATIONAL


Répertoire d’Alexander Ghindin

ALBENIZ   :   Rapsodia espagnola, Op. 70

ARENSKY    :   Fantasia on a Russian Folksong, Op. 48

BACH  :    Concerto #1 in d, BWV 1052 – Concerto #4 in A, BWV 1055 – Concerto #5 in f, BWV 1056 – Concerto #7 in g, BWV 1058 – Concerto #1 in c for 2 Pianos, BWV 1060 – Concerto #2 in C for 2 Pianos, BWV 1061 – Concerto #3 in c for 2 Pianos, BWV 1062 – Concerto in a for 4 Pianos, BWV 1065

BARTOK   :   Concerto #1 (1926) – Concerto #3 (1945) – Concerto for 2 Pianos & Percussion (1940)

BEETHOVEN    :   Concerto #1 in C, Op. 15 – Concerto #2 in B-flat, Op. 19 – Concerto #3 in c, Op. 37 – Concerto #4 in G, Op. 58 – Concerto #5 in E-flat, Op. 73 (« Emperor ») – Concerto in C, Op. 56 (« Triple ») – Fantasia in c, Op. 80 (« Choral Fantasy ») – transcription of Concerto for Violin

BORTNYANSKY  :    Concerto in D for Piano & String Orchestra

BRAHMS  : Concerto #1 in d, Op. 15 – Concerto #2 in B-flat, Op. 83

CHOPIN  :   Andante Spianato & Grande Polonaise, Op. 22 – Concerto #1 in e, Op. 11 – Concerto #2 in f, Op. 21 – Variations on Mozart’s La ci darem la mano, Op. 2

DOHNANYI :   Variations on a Nursery Song, Op. 25

DVORAK  :  Concerto in g, Op. 33

FALLA : Nights in the Gardens of Spain

FRANCK   : Les Djinns – Symphonic Variations

GERSHWIN  :   Concerto in F    – Rhapsody in Blue

GLINKA      :  Divertimento brilliante on Themes from Bellini’s La sonnambula

GRIEG  :   Concerto in a, Op. 16

HAYDN  :   Concerto in D – Concerto in G – Concerto for Violin & Piano

KANTCHELI   : Valse Boston with String Orchestra

KHACHATURIAN   :  Concerto in D-flat (1936)

KRENEK  :  Concerto for Organ & Piano

LISZT    :   Concerto #1 in E-flat – Concerto #2 in A – Hungarian Fantasy – Malédiction for Piano & Strings – Totentanz

LISZT-BUSONI  :   Rhapsodie espagnole

LUTOSLAWSKI    :  Variations on a Theme of Paganini

MENDELSSOHN  :  Capriccio brillante in b, Op. 22 – Concerto #1 in g, Op. 25 – Concerto #2 in d, Op. 40 – Concerto in A-flat for 2 Pianos – Concerto in E for 2 Pianos – Concerto in d for Violin, Piano & Strings

MESSIAEN   :     Turangalîla-symphonie

MOZART  : Concerto #7 in F for 3 Pianos, K. 242 – Concerto #8 in C, K. 246 – Concerto #9 in E-flat, K. 271 – Concerto #10 in E-flat for 2 Pianos, K. 365 – Concerto #18 in B-flat, K. 456 – Concerto #20 in d, K. 466 – Concerto #21 in C, K. 467 – Concerto #23 in A, K. 488 – Concerto #24 in c, K. 491 – Concerto #25 in C, K. 503 – Concerto #26 in D, K. 503 – Concerto #27 in B-flat, K. 595

PODGAITZ    –   Triple Concerto

POULENC  : Concerto in d for 2 Pianos

PROKOFIEV  :  Concerto #1 in D-flat, Op. 10 – Concerto #2 in g, Op. 16 – Concerto #3 in C, Op. 26 – Concerto #4 in B-flat for the Left Hand, Op. 53 – Concerto #5 in G, Op. 55

RACHMANINOFF   :    Concerto #1 in f-sharp, Op. 1 – Concerto #2 in c, Op. 18 – Concerto #3 in d, Op. 30 –    Concerto #4 in g, Op. 40 –   Rhapsody on a Theme of Paganini, Op. 43

RAVEL : Concerto in D for the Left Hand – Concerto in G

RIMSKY-KORSAKOV :  Concerto in c-sharp, Op. 30

Nino ROTA    :   Concerto

Anton RUBINSTEIN   –   Concerto N°3

SAINT-SAENS   :   Africa in g, Op. 89 – Concerto #2 in g, Op. 22 – Concerto #5 in F, Op. 103

SCHNITTKE   :  Concerto for Piano & String Orchestra (1979)

SCHUMANN  :  Concerto in a, Op. 54

SCRIABIN  :  Concerto in f-sharp, Op. 20 – Prometheus, The Poem of Fire, Op. 60

SHCHEDRIN    :   Concerto #6 (“Lontano”) with String Orchestra

SHOR : piano concerto « Travel Notebook »

SHOSTAKOVICH  :  Concerto #1 in c, Op. 35 – Concerto #2 in F, Op. 102

STRAUSS : Burleske in d

SVIRIDOV :  Music for Piano, Horn & Strings

SZYMANOWSKI :  Symphonie concertante #4, Op. 60

TCHAIKOVSKY  : Concert Fantasia in G, Op. 56 – Concerto #1 in b-flat, Op. 23 – Concerto #2 in G, Op. 44 –   Concerto #3 in E-flat, Op. 75

USTVOLSKAYA   :  Concerto for Piano, String Orchestra & Timpani

WEBER    :    Konzertstück in f, J. 282

WIECK-SCHUMANN   : Concerto in a, Op. 7