Date of EventSaturday, 25. 5. 2019 from 11.00
Expected end of the concert 12.15
Price300 CZK Sold out
- Johann Sebastian Bach: Chaconne from Partita for violin No. 2 in D minor BWV 1004
- Francis Poulenc: Violin Sonata
- Karol Szymanowski: Myths Op. 30
- Maurice Ravel: Tzigane (for violin and piano)
- Ludmila Pavlová - violin
- Alissa Firsova - piano
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Violinist Ludmila Pavlová attended the Prague Secondary School of Music and the Prague Conservatoire, where she studied under Pavel Kudelásek. She is currently receiving tuition from Ivan Štraus and Pavel Šporcl at Prague’s Academy of Performing Arts. She also spent time studying at the Universität für Musik und darstellende Kunst in Vienna with the concertmaster of the Vienna Symphony, Jan Pospíchal.
Ludmila Pavlová has won a number of competitions. At the age of thirteen she gave her debut in Prague’s Rudolfinum with Josef Suk during the concert series “Josef Suk Presents Young Talents”. She was also involved in a Czech Philharmonic programme where she was selected for a master class with Anne-Sophie Mutter.
She has performed under Ondrej Lenárd, she was a soloist with the Janáček Philharmonic Orchestra in Ostrava, and she appeared with the Academy Chamber Orchestra at a concert held to mark the 100th anniversary of the birth of Yehudi Menuhin. Last year she was conducted by Shlomo Mintz at the opening concert of the North Czech Philharmonic Teplice.
The violinist put together the programme for this Prague Spring debut morning concert with pianist Alissa Firsova. “In view of the fact that we’re both female performers, we decided to offer a concert programme that takes a look at love from a feminine perspective,” Pavlová explains. “We’ve got the seductive element in Ravel’s Tzigane, and the timidity expressed in Szymanowski’s Myths, where a virtuous dryad flees from an ardent satyr.”
The concert will open with J. S. Bach’s Chaconne for Solo Violin which Pavlová regards as the imaginary cathedral of Baroque music. “I’m always asking myself how I should link things together,” she reflects. “I therefore opted for a contrasting work, Francis Poulenc’s sonata. That’s how Alissa Firsova and I got to know one another; we rehearsed the piece for a concert practically overnight. The tension that builds up towards the final gunshot (the closing chord) is spectacular. The colours and contrasts bring us to Karol Szymanowski’s triptych Myths, which conveys fear and lust, tenderness and hatred, and also the idea of conflict between man and woman,” says Pavlová, commenting on the contexts underlying the programme, and she adds: “On this occasion we would also like to remember the violinist Ginette Neveu, who gave the world premiere of Poulenc’s sonata. She chose a similar programme shortly before she was killed in a plane crash; she was only thirty years old. 2019 is the year we mark the 100th anniversary of her birth.”