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Polina Osetinskaya

exhibits depth, polish, flair... gave evidence of technical poise and, most importantly, an inquisitive musical mind... she had something personal to say and the means to say it. Sun-Sentinel, USA

08:00 pm

$25 General Admission
$28 General Day of Show
$15 Students 12 & under

“A master jeweller. In her subtle, if not to say refined, refined interpretation the composer appeared as a philosophical intellectual, and it is thanks to these pensive and critical interpretations that Polina Osetinskaya proffers that Shostakovich’s music remains topical and even highly relevant art.”    Kommersant



Georg Friedrich Handel


German Baroque, and finally a naturalized British citizen, in his lifetime, Handel was equally famous as a composer and as a keyboard player of unsurpassed ability. Even Beethoven spoke with reverence of Handel. He was musically trained in Germany and Italy. Handel’s harpsichord suites have special charm and melodiousness with a wealth of thematic invention. Admired for their innovation, the Suites are one of Handel’s most important contributions to the keyboard literature. Their origins derive from the form of Italian chamber sonatas. Handel used various movements, some of which are dances, to create completely original compositions. No two suites are alike and many contain a theme and variations. Handel was music master to the daughters of King George of England when the first Suites were published. 


Georg Friedrich Handel (1685-1759)               Chaconne in G Major       HWV 485

                Suite de pièce in G major, Vol 2, No 2


The Chaconne was written c.1705 and published in 1733 as part of Handel’s second series of suites. 


Georg Friedrich Handel (1685-1759)              Suite No. 2 in F Major (c.1710)    HWV 427

              1.  Adagio

              2.  Allegro

              3.  Adagio

              4.  Allegro                

Georg Friedrich Handel (1685-1759)          Suite No. 7 in B-flat Major (c.1703-6)      HWV 440            

              1.  Allemande

              2.  Allegro

              3b.  Sarabande

              4.  Gigue

Georg Friedrich Handel (1685-1759)      Suite No. 8 in F minor  (c.1717-20) HWV 433

1. Prelude

              2.  Allegro

              3.  Allemande

              4.  Courante

                  5.  Gigue 


The Seasons

Pyotr Llyich Tchaikovsky 

Russian born Pyotr Llyich Tchaikovsky is one of the great composers of the nineteenth century. His Piano Concerto No.1 is perhaps the most famous of all piano concertos, and his ballets Swan Lake and Sleeping Beauty are household words. He was first educated as a civil servant in law at the School of Jurisprudence in St. Petersburg, but continued to study music. Tchaikovsky entered and graduated from the St. Petersburg Conservatory. He enjoyed great international success, and was guest conductor at the inauguration concert of Carnegie Hall in New York . Tchaikovsky was gifted with melody as each of the miniatures demonstrates. “The Seasons” Russian edition by publisher Nikolay Bernard contained poetic epigraphs by various authors, such as Pushkin and Tolstoy.


Pyotr Llyich Tchaikovsky (1840-1893)              The Seasons (c. 1875-6)          Opus 37b 


No. 1            January  “At the Fireside”  (Au coin de feu)  in A Major

A little corner of peaceful bliss,
the night dressed in twilight;
the little fire is dying in the fireplace, and the candle has burned out…
Alexander Pushkin


No. 2            February “Shrovetide Festival”  (Carnival)  in  D Major

At the lively Mardi Gras
soon a large feast will overflow…Pyotr Vyazemsky


No. 3            March “Song of the Lark” (Chant de l'alouette)  in G minor

The field shimmering with flowers,
the stars swirling in the heavens,
the song of the lark
fills the blue abyss…Apollon Maykov


No. 4    April “Snowdrop”  in B-flat Major           

The blue, pure snowdrop — flower, and near it the last snowdrops. The last tears over past griefs,
and first dreams of another happiness…Apollon Maykov


No. 5    May “The Nights of May”  (Les nuits de mai)  in G Major

What a night!
What bliss all about!
I thank my native north country!
From the kingdom of ice,
snowstorms and snow,
how fresh and clean May flies in! …Afanasy Fet


No. 6    June “Barcarolle”  in  G minor

Let us go to the shore;
there the waves will kiss our feet.
With mysterious sadness
the stars will shine down on us.
...Aleksey Pleshcheyev


No. 7    July “Song of the Reaper”  (Chant du faucheur)  in E-flat Major

Move the shoulders,
shake the arms!
 And the noon wind
 breathes in the face!
…Aleksey Koltsov                                                           

No. 8    August “Harvest”  (La moisson)  in B-minor

The harvest has grown,
people in families cutting the tall rye down to the root!
Put together the haystacks,
music screeching all night from the hauling carts…Aleksey Koltsov


No. 9     September “The Hunt”  (La chasse)  in G Major           

It is time!
 The horns are sounding!
 The hunters in their hunting dress are mounted on their horses; 
in early dawn the borzois are jumping…Alexander Pushkin, Graf Nulin


No. 10   October “Autumn Song” (Chant d'automne)  in D minor

Autumn, our poor garden is all falling down,
the yellowed leaves are flying in the wind…Aleksey Nikolayevich Tolstoy


No. 11   November “Troika”  in E Major

In your loneliness do not look at the road,
and do not rush out after the troika.
Suppress at once and forever the fear of longing in your heart.
..Nikolay Nekrasov


No. 12   December “Christmas”  (Noël)  in  A-flat Major

Once upon a Christmas night the girls were telling fortunes:
taking their slippers off their feet and throwing them out of the gate…Vasily Zhukovsky

The life of pianist Polina Osetinskaya can be divided into two stages. The first – that of “wunderkind” (a word that Polina herself cannot abide) – was when Polina performed as a girl in huge halls filled with excited sensationalists. The second, which has continued to the present day, is essentially her victory over the first. It is both a reference to serious performing and to exacting audiences.

Polina Osetinskaya began to perform at the age of five. At the age of seven she entered the Central School of Music of the Moscow Conservatoire. Polina gave her first concert at the age of six at the Great Hall of the Vilnius Conservatoire in Lithuania. Together with her father who accepted the role of manager, the young Polina began to undertake frequent tours throughout the former USSR to packed halls and ovations. In her own country Polina was possibly the most famous child of her time and her relationship with her father was portrayed by the mass media as some kind of soap opera after the thirteen-year-old Polina decided to leave her father and study music seriously at the school of the Leningrad Conservatoire under the acclaimed teacher Marina Wolf.

Polina began to tour once again while still a student at the St Petersburg Conservatoire. (The pianist subsequently completed a postgraduate course at the Moscow Conservatoire under Professor Vera Gornostayeva.) She has appeared with the Tokyo Philharmonic Orchestra, the Orchestra of the Weimar National Opera, the Academic Symphony Orchestra of the St Petersburg Philharmonic (Honoured Ensemble of Russia), the State Academic Svetlanov Symphony Orchestra, the Moscow Virtuosi and the New Russia orchestra among other ensembles.

Polina Osetinskaya’s onstage partners have included conductors Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Gerd Albrecht, Yan Pascal Tortelier and Thomas Sanderling. Polina Osetinskaya has performed at the Wallonie Festival in Brussels, the Mainly Mozart festival, the Frédéric Chopin Festival in Miami, the Stars of the White Nights festival and the December Evenings festival among numerous others.

The pianist has been awarded the Maly Triumph prize. In 2008 she wrote her autobiography Farewell, Sadness, which became a bestseller.

Polina Osetinskaya generally creates unusual and frequently paradoxical solo programmes. She almost always includes works by contemporary composers, frequently justaposing them with traditional classical works: “Contemporary music is not just a continuation of older music. It also helps us discover ideas and beauty in older music that have been lost over decades of the blind museum generation and mechanical and often soulless performing.”

Polina Osetinskaya often performs works by post-avant-garde composers such as Valentin Silvestrov, Leonid Desyatnikov, Vladimir Martynov, Georgs Pelēcis and Pavel Karmanov.

The pianist collaborates with many recording companies including Naxos, Sony Music and Bel Air.