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| | Arts Calendar / October 13 / Concerts |
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20:00 | John Mayall: 80th Anniversary Tour (UK) |
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 The legendary British blues man John Mayall, the godfather of British blues, - in celebration of his 80th birthday and his new release A Special Life. A Special Life is a testament to John's still dynamic personality and talent at eighty! He and his fabulous band go back to their roots with a pure blues album that rocks from start to finish. There are three new songs penned by John and one from band members Greg Rzab, Rocky Athas and Jay Davenport as well as blues favorites from some of the greats including Albert King and Jimmy Rogers. CJ Chenier also came to join the party on a couple of tracks, including one written by his father, and he adds an extra dimension with his vocals and accordion. This is John's first release of new material in 5 years, and it demonstrates how the musical bond has strengthened between the musicians that have now been playing together since that time. It is a "must have" for any blues enthusiast! As the elder statesman of British blues, it is John Mayall's lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the '60s, his band, the Bluesbreakers, acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-'60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the '60s. Mayall's personnel has tended to overshadow his own considerable abilities. Only an adequate singer, the multi-instrumentalist was adept in bringing out the best in his younger charges (Mayall himself was in his thirties by the time the Bluesbreakers began to make a name for themselves). Doing his best to provide a context in which they could play Chicago-style electric blues, Mayall was never complacent, writing most of his own material (which ranged from good to humdrum), revamping his lineup with unnerving regularity, and constantly experimenting within his basic blues format. Some of these experiments (with jazz-rock and an album on which he played all the instruments except drums) were forgettable; others, like his foray into acoustic music in the late '60s, were quite successful. Mayall's output has caught some flak from critics for paling next to the real African-American deal, but much of his vintage work - if weeded out selectively - is quite strong; especially his legendary 1966 LP with Eric Clapton, which both launched Clapton into stardom and kick-started the blues boom into full gear in England. John Mayall was born on the 29th of November 1933 and grew up in a village not too far from Manchester, England. It was here as a teenager that he first became attracted to the jazz and blues 78s in his father's record collection. Initially it was all about guitarists such as Eddie Lang, Lonnie Johnson, Brownie McGhee, Josh White and Leadbelly. However once he heard the sounds of boogie woogie piano giants Albert Ammons, Pete Johnson and Meade Lux Lewis, his desire to play in that style was all he could think of. At the age of 14 when he went to Manchester's Junior School of Art, he had access to a piano for the first time and he began to learn the basics of this exciting music. He also found time to continue learning the guitar and a couple of years later, the harmonica, inspired by Sonny Terry, Sonny Boy Williamson and Little Walter. After his two years at art school, he joined the art department of a major department store while starting to build up his own record collection that was to be his source of inspiration to play the blues. At age eighteen when he was due for National Service he spent three years in the Royal Engineers as an office clerk in the south of England and in Korea all the time playing whenever he got a chance. Thirty-year old John moved from Manchester to London and began putting musicians together under the banner of the Bluesbreakers. More info
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19:00 | Russian Philharmonic: The Great Waltz |
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Performers: Moscow City Symphony - Russian Philharmonic, Daniela Schillaci (soprano, Italy). Conducted by Fabio Mastrangelo (Italy). The program includes waltz "On the Beautiful Blue Danube", waltz "Tales from the Vienna Woods", waltz "The Voices of Spring" by J. Strauss; "Waltz of the Flowers" from ballet "The Nutcracker", waltz from ballet "The Sleeping Beauty" by P. Tchaikovsky; Waltz-caprice by A. Rubinstein; Concert waltz # 1 in F Major by A. Glazunov; waltz from opera "War and Peace" by S. Prokofiev; "Sad Waltz" by J. Sibelius; waltz from "Fantastic Symphony" by H. Berlioz; waltz from film "My Tender and Affectionate Beast" by E. Doga; waltz from music to M. Lermontov's drama "The Masquerade" by A. Khachaturian. Undoubtedly waltz takes special place among all dances. Nowadays it's impossible to imagine, but at the end of the 18th century the motions of waltz were considered indecent. Indignation concerning the fact that "sensual and obscene dance" waltz was included in the royal ball program was expressed by "The Times". Nevertheless waltz rapidly became extremely popular, and in the 19th century became the main dance of all balls. Waltz began its great move from Vienna thanks to famous compositions by "waltz king" Johann Strauss the Son. It's interesting to know that waltz has penetrated into "serious" music: into ballet, opera, then into symphony, and finally becomes separate concert form. Fabio Mastrangelo graduated from Geneva Conservatory and Royal Academy of Music in London (class of M. Tipo). From 2001 to 2006 - Artistic Director of the Etoiles du Chateau de Chailly festival, France. As a guest conductor he worked with many orchestras from Canada, Italy, Japan, Russia, Hungary, Estonia, Finland, Romania, Latvia, Germany. Maestro is Artistic Director and Chief Conductor of the Saint Petersburg Camerata State Hermitage Orchestra, Principal Guest Conductor of the Novosibirsk Academic Symphony Orchestra, Resident Guest Conductor of the Mariinsky Theatre and other music theatres of Russia.
MMDM Svetlanov Hall |
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19:00 | The National Philharmonic Orchestra of Russia |
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The young talented musicians Alexander Ramm (cello) and Philipp Kopachevsky (piano) with the National Philharmonic Orchestra of Russia conducted by Young Chil Lee (South Korea) will perform Dvorak, Elgar and Ravel. Alexander Ramm started his musical education at the age of seven at the Glier music school in Kaliningrad. After moving to Moscow at the age of 10, Alexander Ramm was accepted to the class of Maria Zhuravleva at the Chopin Moscow College of Music Performance. Since 2012, he has become a post graduate student at the Hanns-Eisler Hochschule fur Musik under the guidance of the famous cellist Frans Helmerson, where Alexander Ramm perfects his artistry and mastery of the instrument. From the age of 9, when he made his debut as a soloist with the Kaliningrad Chamber Orchestra in the Kaliningrad Philharmonic, Alexander Ramm brilliantly performs with solo programs and as a soloist with leading orchestras in Russia and worldwide. Alexander Ramm is the prize winner at several international competitions. Alexander Ramm is a talented chamber musician who demonstrates fascinating poetic interpretation of music. Alexander Ramm sets extremely high standards for himself. To develop his skills and understanding of music he attends master classes given by the outstanding cellists of our century. A soloist of the Moscow State Academic Philharmonic and a prize-winner at international competitions, the young pianist Philipp Kopachevsky had won tremendous audience admiration and acclaim by the age of twenty-three. He regularly appears in recital in Great Britain, Germany, the USA, the Netherlands, France, Italy, Greece, Poland and Spain as well as throughout Russia. "The young pianist's playing has a perceptibly personal message. The natural blend of mastery and spiritual maturity with raw emotion, the freedom with which the pianist expresses himself and his Romantic sincerity and nobleness win one over from the very first notes..." this is the kind of reviews Philipp Kopachevsky receives from music critics.
Tchaikovsky Concert Hall |
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