Dmitry Sinkovsky & Brandenburg – Early Music Resonant Sounds

Dmitry Sinkovsky & Brandenburg – Early Music Resonant Sounds

Renowned Russian musician Dmitry Sinkovsky is coming to Australia for the first time in July and August 2014 to appear with the Australian Brandenburg Orchestra in celebration of the 25th Anniversary of their founding. He will perform under the baton of co-founder Paul Dyer AM, revealing both his considerable skills as an acclaimed Baroque violinist and countertenor. Paul. said “Dmitry will bring some of the equally dazzling but less famous works to the stage with the Brandenburg”.

Sinkovsky is much in demand internationally, with his brilliant career beginning following his graduation from the Conservatoire of Moscow in 2005 when he also turned to earlier musical repertoire.

Critics and the public overseas who have witnessed his performances, praise his ability to both play and sing from the heart. He has been described as presenting instrumental performances that ‘radiate razor sharp finesse, virtuosity and purity’ with a voice that resonates with ‘crystal-clear intonation’.

He has excellent credentials, having won many major competitions including the Premio Bonporti in Italy (2005) to the Bach Competition at Leipzig (2006), the Musica Antiqua Competition in beautiful Bruges (first prize, audience prize and critics’ prize, 2008) to the Romanus Weichlein prize at the Biber competition in Austria in 2009 for his ‘extraordinary interpretation of Biber’s Rosary Sonatas’ and then winning first prize at the Telemann Competition in Magdeburg (2011).

The craftsmanship of period violins made 1655 – 1718 is of the highest quality. Sinkovsky is supported by the International Jumpstart Jr Foundation, who have benefacted the superb Russian ‘period’ violin (1675) that he plays.

It was made in Cremona by Francesco Ruggeri (1630-1698); the first of what would become a famous family of violinmakers. Their instruments are admired today for their rich blend of pleasing overtones and beauty of appearance.

The program for this glorious event, to be performed in late July at City Recital Centre, Sydney and early August in the Elizabeth Murdoch Recital Hall at Melbourne, features mostly concerto by brilliant Italian composer Antonio Vivaldi (1678-1741).

Sinkovsky will also play a work by the role model composer and violinist Arcangelo Corelli (1653-1713) often called the ‘World’s First Great Violinist’ – he is the musician who organized ‘the basic elements of violin technique’.

The works on the program are all astonishingly difficult and rarely heard.

The concerto is a musical composition for solo instrument, which is set off against an orchestral ensemble, in this case the Australian Brandenburg Orchestra, Australia’s pre-eminent specialist period instrument ensemble.

In our day the word concert usually means getting together for a performance.

In period, a concerto was all about music that offered a love of virtuosity, display and ornamentation as an aspect of its stylistic development.

Just as in European architectural styles of the seventeenth century, ‘early music’ became an expression, which showcased repetition of form; a way of enhancing and contrasting it’s meaning and highlighting beauty of style.

The concerto form first began taking flight during the late Renaissance (16th century) emerging from the vocal music of the church, buoyed by the wonderful choirs of the day.

They echoed the sweet sounds of musicians, who delighted at playing innovative three movement vocal-instrumental pieces.

From modest beginnings the concerto eventually became a composition of many parts, requiring a small orchestra to play it. The Australian Brandenburg Orchestra musicians all play on period instruments, so it is the perfect vehicle for such a historically informed performance.

However, this does not mean that it is anyway traditional, static or stale, quite the contrary, early music offered an ability for an individual of collective artists to enjoy a greater freedom of expression than ever before, which is also embraced with such alacrity today.

Antonio Vivaldi gave rhythmic drive and vigor to all his themes, developing the character of his compositions with energy, passion and lyricism. Other composers following his lead included German giant Johann Sebastian Bach (1685-1750), who transcribed ten of Vivaldi’s concerto for keyboard instruments.

This form of music was a triumph of structured symmetry and eventually became all about the technical command of the solo instrument being played. In simple terms people either playing or singing together expressed the fact that the ‘concertante element’ was present.

The concerti’s form was built on contrasting two different size instrumental groups.

Arcangelo Corelli highlighted the contrasts between forte and piano, as well as between large and small string groups, with a dynamic variety of scores, in what was basically a small output.

The Concerti Grossi Opus 6 by Arcangelo Corelli will be a highlight of this presentation by Sinkovsky, because it is the work that allowed the composer to reach a creative high point in his career.

He did not invent this form, but he did write great music for it and proved its potential by popularizing it

Corelli as a composer exercised a wide influence on his contemporaries and the next generation, which included Vivaldi.

He became the ‘embodiment of classical Italian violin music’, uniting the threads developed by eminent colleagues creating superb ensemble music as an art form. His music was bold, harmonious, witty, delicate, poetic and delightfully decorative.

Corelli’s Opus 6 consists of a collection of twelve concerti he laboured diligently and devotedly on during his lifetime. All individually marvelous, as a whole the collection contains delicately stylized dances and wildly rushing allegros, which are brought about by producing rich, deep and resonant sounds.

The Opus 6 was published the year following his death in 1714, because he had spent many years writing and re-writing it, starting in his early twenties.

When performing early music works by Vivaldi and Corelli Dmitry Sinkovsky will also sensuously express the sweet sounds of melodies that soar boldly and are filled with sensitivity and pathos.

The passionate cultural inheritance in music he comes from will ensure that he will captivate audiences with the elegance, charm and grace of his style, while exhibiting a great deal of ‘noble simplicity and quiet greatness’, characteristics so integral to the Baroque style.

The nature and form of ‘early music’ is enjoying a great revival at this time, because it was all about joy while colourfully expressing the true wonders and benefits of living a good life by following recognised principles of proportion and harmony.

This presentation is set to become another Australian Brandenburg Orchestra triumph and integral to their 25 year legend!

Their commitment to offering such musical excellence certainly deserves wild applause.

Carolyn McDowall, The Culture Concept Circle, 2014

Australian Brandenburg Orchestra

Dmitry Sinkovsky – Russian Baroque Violin

Sydney 23, 25, 26, 30 July and 1 August – Melbourne 2nd and 3rd August 2014

BOOKINGS: SYDNEY City Recital Hall Angel Place

BOOKINGS: MELBOURNE Melbourne Recital Centre

Program

Vivaldi – Concerto in C Major RV 177
Corelli – Concerto grosso Op 6 No.11 in B flat major
Vivaldi – Concerto in d minor RV 246
Vivaldi – Cantata RV 684 for alto, strings and continuo  Cessate, omai cessate
Avison, Scarlatti – Concerto Grosso No 3 in d minor
Vivaldi – Concerto in d minor RV 242 Op 8 No 7 ‘Per Pisendel’

Watch Dmitry Sinkovsky play “Per Pissendel”

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