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A Jacobs Masterworks Concert  
Friday, October 4, 8pm
Saturday, October 5, 8pm
Sunday, October 6, 2pm

Jahja Ling, conductor; Augustin Hadelich, violin

BRUCE: Night Parade (world premiere)
BARBER: Violin Concerto, Op. 14
PROKOFIEV: Symphony No. 5, Op. 100

(For more interesting and valuable insight into this Masterworks program, come to the performance chamber 45 minutes before downbeat for Nuvi Mehta's "What's The Score?" pre-concert talk.)

Music Director Jahja Ling and the San Diego Symphony open the Jacobs Masterworks 13-14 Season with works to be performed in New York's Carnegie Hall (David Bruce's Night Parade world premiere and Sergei Prokofiev's powerful and relentless Symphony No. 5) and in China (Samuel Barber's Violin Concerto) during the Symphony's upcoming tour!

The Barber Violin Concerto will be performed by Augustin Hadelich, one of the world's most in-demand young violinists who wowed San Diego audiences with his Masterworks and Chamber Music appearances here two years ago. About Mr. Hadelich The Washington Post had this to say: “The essence of Hadelich’s playing is beauty: reveling in the myriad ways of making a phrase come alive on the violin, delivering the musical message with no technical impediments whatsoever, and thereby revealing something from a plane beyond ours.”

Mr. Hadelich will be the San Diego Symphony's special guest on several stops of the upcoming China Friendship Tour!

David Bruce's Night Parade is the second of three pieces commissioned by the San Diego Symphony in its first ever multi-work commissioning project. For this large task, David Bruce has been named Associate Composer of the SDSO, and his works will span three seasons. This second work opens the SDSO's 2013-2014 season, and will also make its New York debut at the San Diego Symphony’s Carnegie Hall performance on October 29, 2013.  The third work of this three-part commission will be a violin concerto featuring renowned violinist Gil Shaham, to be premiered by the SDSO in the fall of 2014.  The Associate Composer program and commissioning of these three works has been generously sponsored by Sam Ersan and Gordon Brodfuehrer, to whom we give great thanks. CLICK HERE to read a new U-T San Diego feature about David Bruce and Night Parade!

DIALOGUE WITH JAHJA! All Friday October 4 concertgoers are invited to stay after the concert for a Q&A with music director Jahja Ling and violinist Augustin Hadelich, moderated by Nuvi Mehta.

Mr. Hadelich and a few minutes of the Barber Concerto with the Indianapolis Symphony in 2010:



Night Parade


Born 1970, Stamford, Connecticut


A program note from composer David Bruce:


Many of the things we find most fun and exciting are also a bit dangerous. Indeed, whether it’s the rollercoaster, the high-wire act at the circus, bungee-jumping or any number of sports, it’s the danger itself that gives us the “thrill.” When I was asked to write an orchestral showpiece for the San Diego Symphony, I thought about this, and how similarly many of the orchestral pieces I find most exciting and fun do also contain – to a greater or lesser extent – hints of darkness and danger mixed in. Think, for example, of the way the waltzes at the start of Ravel’s La Valse gradually spin out of control to its violent thud of an ending.

There can be something inherently scary at some primal or subconscious level about a hundred or so people making a big noise together as they do in the orchestra; indeed, several instruments in the orchestral percussion section owe their origins to the desire to awaken just such anxieties in the Turkish Janissary bands. So this was my starting point here: to write something that was full of thrills, but thrills that constantly threaten to spill over into something darker.

The idea of the “night parade” pervades the piece in several quite specific ways. In as much as the piece is a “night” piece, it is very much a city night – with the kind of weird shadows that you see under a neon light. I became obsessed by the idea of musical shadows, and throughout the piece you will hear an object followed by a darker copy of itself, or sometimes multiple fading versions of the original object in quick succession. The modern city can also be felt in other ways – a certain industrial color and texture, full of clanking and honking – and also perhaps in the filmic “cuts” that sometimes happen in the music.

Aside from these cuts, however, the “parade” is a useful new metaphor I have found for how my music progresses – you can call it the “parade form.” I have always enjoyed the kinds of piece where we feel like we are flying over an ever-changing landscape that rolls beneath us, never looking back. But my own music usually has too much rhythmic emphasis for that metaphor; its roots are in dance. As such, a parade seems a much closer and better analogy for the way my music moves. There is a sense of succession of ideas, dances or displays, but in some way they are all moving “along the same road.”



Violin Concerto, Op. 14


Born March 9, 1910, West Chester, Pennsylvania

Died January 23, 1981, Mt. Kisco, New York


            Samuel Barber began composing his Violin Concerto during the summer of 1939 while living in a small village in Switzerland. He moved to Paris later that summer and then – as war broke out – returned to the United States, where he completed the concerto. That completion, however, brought problems. The concerto had been commissioned by the wealthy American businessman Samuel Fels (of Fels Naphtha fame), who intended it for the use of a young violinist he was promoting. That violinist, however, was dissatisfied with the last movement and asked for changes. Barber refused, and soloist and composer found themselves at an impasse. This awkward situation was resolved when the young violinist renounced his right to the first performance, and Barber was free to find a new soloist. Albert Spalding gave the premiere on February 7, 1941, with the Philadelphia Orchestra conducted by Eugene Ormandy.

            Nearly seventy-five years after its composition, Barber’s Violin Concerto has become the most popular violin concerto by an American composer. Numerous performances are available on compact disc, many of them recorded in Europe. The source of this popularity is no mystery: the concerto shows off Barber’s considerable melodic gift, particularly over the first two movements, while the finale is a breathless virtuoso piece. The concerto has some unusual features, particularly in its scoring. Barber writes for Mozart’s orchestra (pairs of winds, plus timpani and strings) as well as two unusual instruments: a “military” drum, used only in the finale, and a piano, used here as a chordal instrument. The choice of piano can seem a curious one, and Barber’s decision to arpeggiate its chords gives the instrument a continuo-like plangency, an unusual sound in the concerto’s generally romantic sonority.

            While the opening movement is marked Allegro, its actual pace feels somewhat restrained, so that this concerto seems to open with two slow movements, followed by a fast finale. The opening movement is notable for its continuous lyricism. Solo violin has the long opening melody, and the triplet that recurs during this theme will figure importantly throughout the development. Solo clarinet has the perky second idea, full of rhythmic snap, and the violin has a dancing subordinate figure, marked grazioso e scherzando. There is no cadenza as such, but in the first two movements Barber gives the solo violin extended cadenza-like passages over deep orchestral pedals. The coda of the first movement recalls its two main themes, and the movement concludes quietly on the triplet rhythms that have shaped so much of it.

            The Andante is very much in the manner of the opening movement. Over muted strings, solo oboe sings the long main theme; the violin’s entrance is delayed, and Barber marks its appearance senza affretare: “without hurrying.” The music rises to an expansive, soaring climax before the quiet close.

            The finale – Presto in moto perpetuo – brings a sharp change of character. Gone is the lyricism of the first two movements, and in its place comes a gritty, acerbic quality. Except for two brief interludes, the soloist is playing constantly and the part is full of blistering triplets, awkward string crossings and endless accidentals; the effect is of a hard-driving perpetual motion. In the coda, the pulse of triplets suddenly gives way to racing sixteenths, and Barber’s Violin Concerto concludes as the soloist rips upward to the very top of the violin’s range.


Symphony No. 5 in B-flat Major, Op. 100


Born April 23, 1891, Sontsovka

Died March 5, 1953, Moscow


            The premiere of Sergei Prokofiev’s Fifth Symphony on January 13, 1945, in Moscow, was one of those storybook tales, almost too good to be true. As Prokofiev mounted the podium, the sound of distant artillery rumbled through the hall. The news had just arrived that the Russian army had smashed across the Vistula River in Poland and was preparing for its final assault on Nazi Germany. After four horrific years of war, the end was in sight – that artillery barrage was the sound of the garrison in Moscow celebrating the now-inevitable victory. And so it was that Prokofiev’s Fifth Symphony was heard for the first time with a prelude of artillery thunder. This music made an overwhelming impression on audiences, both that night in Moscow and around the world in the following months, and it remains today one of the most frequently performed of 20th century symphonies.

            Prokofiev composed this music in the space of one month during the summer of 1944 at the Composer’s House in Ivanovo, an artists’ retreat 150 miles northeast of Moscow. Dmitri Shostakovich was also there that summer, composing two works that many have felt were touched by the war, the Trio in E minor and the Second String Quartet. Prokofiev refused to make a connection between the war and his new work, saying only that he “conceived it as a symphony of the grandeur of the human spirit.”

            Like Igor Stravinsky and Aaron Copland, Prokofiev was not by nature a symphonist, finding himself more comfortable with dance scores and smaller forms – his Third and Fourth Symphonies are based on material he drew from his ballets The Fiery Angel and The Prodigal Son. Now, however, in the face of a defining national moment, Prokofiev turned to the most serious of orchestral forms and wrote with vision and force. His Fifth Symphony builds across an effective sequence in its four movements: a broad-scaled and conflicted first movement gives way to a propulsive scherzo, which is in turn followed by a painful Adagio. The symphony concludes with an almost happy-go-lucky finale that takes themes from the first movement and transforms them to suit its mood of celebration. The symphony’s themes are simple, even singable, its orchestration masterful. Some of Prokofiev’s early scores had been brutal in their impact (the young composer had taken delight in outraging audiences), but now at age 53 he handles the orchestra with distinction: the scoring here ranges from the most delicate effects (the majority of the symphony’s themes are introduced by solo woodwinds) to some of the loudest music ever written. The combination of dramatic content, attractive themes, skillful orchestration and formal control makes this music almost unique among Prokofiev’s works; one observer has gone so far as to describe Prokofiev’s Fifth as “Shostakovich’s finest symphony,” a remark that – however witty – is unfair to both composers.

            The very beginning is deceptively innocent: Prokofiev’s Fifth Symphony opens with the pastel sound of two flutes and a bassoon playing the simple opening idea, and the other themes – all introduced quietly and lyrically – appear quickly. This movement is an Andante rather than the expected Allegro, but while the pace may be measured, it is also inexorable, and the music gathers force as it proceeds. In its closing moments skies blacken over what had been a generally serene landscape, and the climax is shattering, one of the most impressive in all symphonic music. Tunes that had seemed genial on their first appearance now explode as the strength pent up in those simple figures is unleashed.

            The ticking accompaniment heard at the very beginning of the Allegro moderato continues throughout – this near-demonic tick-tock-tick-tock is so pervasive that the ear seems to hear it even when it is not there. Solo clarinet leads the way in this music, full of rhythmic energy and instrumental color. Much of this color comes from Prokofiev’s imaginative handling of percussion, particularly snare drum, woodblock, piano and tambourine. The piercing sound of oboe and clarinet herald the arrival of the good-natured trio, but the return of the opening material brings a surprise: over the halting (almost suppressed) sound of staccato trumpets, timpani and pizzicato strings, the opening theme now sounds lugubrious. Gradually the tempo accelerates, and the Scherzo smashes its way to the close.

            While Prokofiev would not make a specific connection between this symphony and the war that had raged across Russia for three years when it was written, it is hard not to feel that the Adagio is touched by the events of those years. This grieving music opens with a simple clarinet melody that quickly turns impassioned, and a range of melodic material follows, including a broad-spanned theme that rises up over a range of four octaves and a grotesque march that sounds like something straight out of a Mahler symphony. Much of the writing here, particularly for the strings, is very high; yet for all this movement’s pain, its quiet closing moments are among the most beautiful in the symphony.

            The concluding Allegro giocoso is well named, for this truly is fast and happy music. Prokofiev re-introduces several themes from the first movement here, but now he transforms them – ideas that had sounded poised in the first movement become rollicking in this finale. Violas lead the way into the main section, full of sweep and high spirits – it takes little imagination to hear the sound of laughter at moments in this music of celebration. The ending is particularly effective. With the music racing along, Prokofiev suddenly reduces his forces to just a handful of players, and for a few moments this mighty symphony becomes chamber music. In the last seconds, the entire orchestra leaps back in for the ear-splitting rush up the scale that drives Prokofiev’s Fifth Symphony to its exultant close.

-                      Program notes by Eric Bromberger



Guest Columnist: Jahja Ling


            Everything is special this October – the programs, the pieces, even the orchestra and the places where it will be playing them. Because creating programs for a tour is a different project than setting up a seven-month series of home-based Masterworks programs, Dr. Mel Goldzband, our archivist, who usually writes these columns, has asked me to take over this month. He hoped that I might provide some insights into WHY tour pieces and programs are so special, and WHY they might be selected for different reasons and different ends than our local concert fare.

It is probably best to begin by discussing the many reasons WHY we are going on a tour at all. We are happy here in beautiful San Diego, with a great hall, a wonderful, responsive audience and increasing pride in our ability to provide fine performances of superb music. That pride is important. I take enormous pride in our orchestra. It has developed incredibly over the last years, an opinion shared by our increasing and increasingly knowledgeable audience, by the critics and by the word that has been spreading throughout musical circles about the San Diego Symphony. Our soloists and guest conductors have shared the news of this wonderfully developing orchestra throughout the world. When I guest-conduct elsewhere, I frequently hear from musicians the good things they have heard about our orchestra. Certainly a terrific barometer is the enormous number of musicians who apply to audition for the SDSO, even knowing that our pay scale cannot compete with the scales of the oldest, legendary orchestras in huge population and industrial centers. I like to describe the SDSO as a twenty million dollar orchestra that sounds and plays like a sixty five million dollar orchestra. Our principal players are well-known elsewhere as superb performers. All of this makes for increasing pride on the part of our musicians, but they need to know even more how the world will see and applaud them for their brilliant music-making, just as we do here. Dr. Goldzband likes to tell the story of the great Fritz Reiner, who built the wonderful Chicago Symphony into an even greater group in the 1950s, and who said, when he took them on a tour to the east coast, “I want them, the players, to recognize how good they really are, and then they will always play up to that standard!”

The image of San Diego will also benefit from our tour. Beautiful, sunny San Diego is becoming a remarkable cultural center. Music is everywhere, in Copley Symphony Hall, on the opera stage and in chamber music venues all over town. Our museums present incredible exhibitions, and our universities demonstrate their capacities to raise our sights. When our orchestra plays wonderfully in a big media center – and New York City is the biggest – our city’s reputation will benefit exponentially. And the kind of benefit that all of us in town will get from our Pacific Rim orchestra playing in large cities in China, our most influential, populous and wealthiest Pacific Rim neighbor, is incalculable.

So, you will see that programs for a series of concerts away from home, to different audiences and to different critical media, must be selected very carefully. In our regular Jacobs Masterworks programs, I always want to show our orchestra off, but on tour the need for that is even greater. In discussing the program and the pieces themselves, we should start by noting our soloists who are at the very top of the musical and personality worlds. They are “big box office,” and we have to acknowledge that we need audience draws like them – until we reach the reputation level of the Chicago and Cleveland Orchestras, who travel without need for extra box office draw. Lang Lang, Joshua Bell and Augustin Hadelich fill concert halls over the entire world, but to say that we are lucky to be able to have them play with us is really false modesty. They love to appear with us. As Lang Lang has said, our orchestra plays on a par with the best European and American orchestras. He describes us as playing with characteristic European warmth and with characteristic American brilliance. The presence of such inspiring soloists as these always makes us play even better. Also, the presence of new audiences in far-off, important venues will cause us to play better yet.

So, let us start with our first October program. Augustin Hadelich is a superb violinist, always welcome here. The Barber Violin Concerto, probably by now the most popular of the American violin concerti, was his choice, but the rest of that program was selected for the tour. Augustin Hadelich will also play the Barber concerto with us in several of our China concerts, although, depending upon circumstances, he also has the option of playing a different concerto. For the Chinese tour, the Tchaikovsky is the violin concerto to be played by Josh Bell, who ended our last season here with it. Night Parade, the new work to be played on our season’s opening concert and our Carnegie Hall program is by a fine, very up-and-coming British-American composer, David Bruce, already active in the New York/Carnegie Hall scene. I had hoped to have not just a new, contemporary piece to take with us but, even better, a piece that actually would be commissioned for our tour. It is a big step for an orchestra to commission works from recognized composers, and our doing so is a testimonial to how much we have grown, and how far we have come. Our great friends, Sam Ersan and Gordon Brodfuehrer, graciously underwrote the costs of David Bruce’s new work, commissioned for us, which we shall premiere on the 2013-14 season’s opening concert, and take with us to Carnegie Hall and to China.

I had thought long and hard about what great piece to choose for the second half of the Carnegie Hall concert. The selection process required thinking on several levels: the quality of the music and the capacity to draw audiences. New York, of course, has its own busy orchestras – more than just the New York Philharmonic – and hosts a large number of visiting groups in both Carnegie Hall and Lincoln Center. Carnegie, of course, has the aura of success, but it also has far better acoustics to show off our orchestra. So many visiting orchestras concentrate on the basic repertory: Beethoven, Brahms, etc. I wanted something different, although equally great, because audiences tire of hearing the same standard works over and over. The Prokofiev Symphony No. 5 was my choice. It is a beautiful work, not heard as frequently as it should be. Its most recent performance by the SDSO was in 2006 under my direction, its third hearing here. Sergei Prokofiev and Dmitri Shostakovich, of course, were the greatest of twentieth century Russian composers, and both created works that have demonstrated their staying power. However, everybody seems to play the Shostakovich Fifth. The Prokofiev, though, is a work almost specially tailored to show off the virtuosity of our orchestra, especially of our incredible principals, and it will be an audience favorite with its stupendous finale. With Lang Lang playing the Rachmaninoff Piano Concerto No. 2 in Carnegie Hall before the intermission, the audience should be ripe for hearing the Prokofiev. Likewise, with Josh Bell playing the Tchaikovsky Violin Concerto in China, the audience there will be beautifully primed for the Prokofiev. The venues in China do have the option of choosing the Dvořák Eighth Symphony instead, which we play here at our October 26th send-off program (along with the Rachmaninoff with Lang Lang), just before leaving for New York.

The second Masterworks program is all-American, with pieces I chose especially for the tour through China. There, too, big touring European orchestras play the basic central European repertory more often than not, and I wanted this American orchestra to play a lot of American music. In fact, the Shanghai concert administration has specifically requested an all-American program. Augustin Hadelich playing the Samuel Barber concerto is an obvious choice there as well as here. All of the pieces in this second Masterworks program (and all that have been planned for the tour) have been played before by our orchestra, some several times, and all under my direction. The musicians’ familiarity with these scores will allow us to polish the performances to exceptionally high levels and ensure our making a big hit in every Chinese hall.  The John Harbison “Gatsby” Foxtrot is special, very listenable and a bit of fun as well. Leonard Bernstein, my revered teacher, is, of course, no longer with us, but he remains an enormously influential figure in 20th century music, a popular icon in China as well as here. I have previously conducted the music from West Side Story in China as well as elsewhere in the Orient, always to great enthusiasm on the part of the audiences. The other American pieces we are bringing are also well-known, especially Gershwin’s An American in Paris, a now-classic piece beloved all over the world. There will also be a few short American pieces that we will have available for encores.

Our “Tour Send-Off” concert, just before we leave for “Carnegie Hall, Beijing and Beyond,” features a program of music that may be very popular but also very significant. Lang Lang, the SDSO’s great friend, will play the very popular Rachmaninoff Piano Concerto No. 2, just as he will with us in Carnegie Hall three days later. (The remainder of that New York concert features the David Bruce premiere work and the Prokofiev symphony.)

Antonín Dvořák opens the “Send-Off” concert with a series of Slavonic Dances that everybody loves, and closes it with his beautiful Eighth Symphony, probably as popular these days as his “New World” Symphony, now a standard. As I wrote above, this symphony can alternate with the Prokofiev as requested by the Chinese concert administrators. Each will be a big hit with those audiences. The list of pieces we shall bring along will be submitted to each Chinese venue well in advance so that they can determine the program they want us to play. All in all, I believe that every piece that I have chosen for the orchestra to perform on the tour will show our orchestra in the best light – again, to refer to Lang Lang’s opinion, on a par with the best of European and American orchestras. I anticipate some glory days for the San Diego Symphony. Thank you for being such gratifying, attentive audiences. We shall do you proud.



As noted above by our maestro, the Barber Violin Concerto, to be played by Augustin Hadelich, has been presented four times before by the SDSO, beginning with Robert Gerle’s 1957 performance under Robert Shaw. Charles Ketcham introduced our audience to the Prokofiev Symphony No. 5 during the 1979-80 season. Jahja Ling conducted the Harbison Remembering Gatsby: Foxtrot for Orchestra in 2008. Leonard Bernstein’s Symphonic Dances from West Side Story was heard here as early as the 1985-86 season, conducted by David Atherton. These presentations mark the work’s seventh appearance on our programs. Bernstein’s Overture to Candide was first conducted here by George Barati, in 1959. It has been repeated subsequently nine times. Gershwin’s An American in Paris was conducted by Fabien Sevitzky during the 1952 season, and its current programming marks its twelfth appearance here.

One or another of Dvořák’s Slavonic Dances have been played here often since Charles Ketcham conducted Dance No. 1 in the 1977-78 season. The Rachmaninoff Piano Concerto No. 2 is probably the world’s favorite and certainly most popular work by the Russian composer. It was first heard in San Diego played by George Sementovsky, conducted by Robert Shaw, in 1957. It has been repeated over the years fourteen times. The beautiful Symphony No. 8 Dvořák was introduced to SDSO audiences during the 1972-73 season, with Donald Johanos on the podium. Nine subsequent presentations have been programmed, including the two most recent performances in the 1998-99 and 2003-04 seasons, when Jahja Ling led the work.    (- Melvin G. Goldzband, Symphony Archivist)



Consistently cited in the press for his “gorgeous tone,” “poetic communication” and “fast-fingered brilliance,” Augustin Hadelich has confirmed his place in the top echelon of young violinists. Last season, following stellar debuts with the Boston Symphony at Tanglewood and his subscription debut with the New York Philharmonic at Lincoln Center, he continued with equally acclaimed debuts with the San Francisco Symphony, Dallas Symphony, New Jersey Symphony, St. Louis Symphony, Milwaukee Symphony, Buffalo Philharmonic, Toronto Symphony, Los Angeles Chamber Orchestra, BBC Philharmonic/Manchester and the SWR Orchestra in Stuttgart. This summer he will appear with the Los Angeles Philharmonic at The Hollywood Bowl, the New York Philharmonic at Vail, the Britt Festival Orchestra and the Chautauqua Festival Orchestra, among others.

Among Mr. Hadelich’s 2013-14 season highlights are debuts with the Atlanta Symphony, Detroit Symphony, Oregon Symphony and The Philadelphia Orchestra, as well as a recital at New York’s Frick Collection celebrating the 75th Anniversary of their concert series, and a tour of China with the San Diego Symphony. Debuts abroad include the Bournemouth Symphony, Orquestra Sinfónica do Porto/Portugal and the Royal Scottish National Orchestra. Re-invitations include the symphonies of Cincinnati (including a week-long residency), North Carolina and Vancouver, to name a few. In April 2014 Mr. Hadelich (with guitarist Pablo Sáinz Villegas and pianist Joyce Yang) will perform at The Kennedy Center for the premiere of an originally-conceived multimedia recital, Tango Song and Dance, based on and named after André Previn’s work for violin and piano.

In the United States, Augustin Hadelich has also performed with the Cleveland Orchestra, Pacific Symphony, Rochester Philharmonic, Saint Paul Chamber Orchestra and the symphonies of Alabama, Baltimore, Colorado, Columbus, Florida, Fort Worth, Houston, Indianapolis, Jacksonville, Kansas City, Louisville, Nashville, New Orleans, Phoenix, Seattle, Syracuse and Utah. Festival appearances include Aspen, Blossom, Bravo! Vail Valley, Chautauqua (where he made his American debut in 2001), The Hollywood Bowl and Tanglewood.

Additional worldwide appearances include the Badische Staatskapelle/Karlsruhe, Deutsche Radio Philharmonie/Saarbrücken-Kaiserslautern, Dresden Philharmonic, Helsinki Philharmonic, Netherlands Philharmonic, Orchestre Philharmonique de Monte-Carlo, Orchestre Philharmonique de Strasbourg, Orquesta Sinfónica Nacional de México, RTE National Symphony Orchestra/Dublin and the Tokyo Symphony, as well as numerous chamber orchestras throughout Europe. He has collaborated with such renowned conductors as Lionel Bringuier, Justin Brown, Mei-Ann Chen, Karel Mark Chichon, James Conlon, JoAnn Falletta, Rafael Frühbeck de Burgos, Alan Gilbert, Hans Graf, Giancarlo Guerrero, Miguel Harth-Bedoya, Jakub Hruša, Hannu Lintu, Jun Märkl, Fabio Mechetti, Juanjo Mena, Peter Oundjian, Vasily Petrenko, Carlos Miguel Prieto, Larry Rachleff, Michael Stern, Yan Pascal Tortelier and Bramwell Tovey.

Also an enthusiastic recitalist, Mr. Hadelich’s numerous appearances include Carnegie Hall, The Frick Collection (New York), The Kennedy Center, the Chamber Music Society of Detroit, Kioi Hall (Tokyo), the Louvre, Philadelphia Chamber Music Society and the Vancouver Recital Society. As chamber musician, he has been a participant at the La Jolla, Marlboro, Ravinia and Seattle festivals, and has collaborated with Midori at Lincoln Center’s Rose Theater.

Mr. Hadelich has recorded three CDs for AVIE: Flying Solo, a CD of masterworks for solo violin; Echoes of Paris, featuring French and Russian repertoire influenced by Parisian culture in the early 20th century; and a new CD, Histoire du Tango, a program of violin-guitar works in collaboration with Pablo Sáinz Villegas. For Naxos, he has recorded Haydn’s complete violin concerti with the Cologne Chamber Orchestra and Telemann’s Fantasies for solo violin.

The 2006 Gold medalist of the International Violin Competition of Indianapolis, Mr. Hadelich is the recipient of Lincoln Center’s Martin E. Segal Award (2012), an Avery Fisher Career Grant (2009) and a Borletti-Buitoni Trust Fellowship in the UK (2011).

Born in Italy in 1984, the son of German parents, Augustin Hadelich holds an artist diploma from The Juilliard School, where he was a student of Joel Smirnoff.  He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society.

Watch & Listen,

Artist In Profile: Augustin Hadelich

October 4 - October 6, 2013

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