Xenia Gamaris, violin, Ksenia Zhuleva, viola, Orquesta Joven de Extremadura, Gianluca Marcianὸ, conductor

Thursday 16 March at 20:30

Mozart’s Sinfonia Concertante for Violin and Viola can be considered his most successful realization in this cross-over genre between symphony and concerto. It happens that the name of the two Russian female soloists is doubled as well.

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Wolfgang Amadeus Mozart (1756 –1791)
Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364 (320d)

Max Christian Friedrich Bruch (1838 –1920)
Double Concerto for violin & viola with orchestra, in E minor, Op. 88

Franz Shubert (1797 – 1828)
Overture in The Italian Style in D major D 590
Rosamunde – Incidental music, Op.26

Xenia Gamaris, violin
Prize-winner of International Competitions, Member of several International Charity Organizations.
“Xenia is a beautiful young artist of New Generation, her manner of performing combines technically brilliant freedom with brightness of interpretation.” Japan review, 2006.
Graduated Moscow State Tchaikovsky Conservatory and completed a post-graduate course at the same institution led by the outstanding violinist Prof. Eduard Grach.
Participated in some of the most prestigious European festivals: Festival Semains Musicales de Tur France, Switzerland Sion-Valais, Kotor-Art Montenegro, Planet Stars Russia and Russian Winter.
Xenia also participated in “Days of Russian Culture” and represented the Russian Federation from UNESCO in Austria & Jordan. Since 1993 Xenia has been successfully touring in Europe, Asia and Russia, performing on the most prestigious stages as a soloist as well as with outstanding musicians such as S. Mintz, V. Danchenko, R. Shnaider, F. Andreewski, Y. Kless, I. Hendel, V. Dudarova, E. Grach, V. Ponkin, A. Vedernikov, M. Gorenshtein, I. Golan, N. Petrov and V. Spivakov.
Since 1997 Xenia has been a soloist of the Moscow State Philharmonic. She released CDs and had records on MOSFILM Records, RMG Records, Flamingo Impex, Great Hall Records (Russia), Mel Bush Organization Ltd., Abbey Road Studio (UK). The violinist’s diverse repertoire ranges from baroque and classical pieces to modern, crossover and jazz compositions.
Since 2015 Xenia Gamaris is a leader and 1 Violin of RUSQUARTET, based in Moscow.

Ksenia Zhuleva, viola
Born in Moscow, Ms. Ksenia Zhuleva started her music education at the age of seven. She graduated with honors from Academic Music College, (associated with the Moscow State Tchaikovsky Conservatory) where she was the recipient of the prestigious E. Bystritskaya International Scholarship for the most promising and outstanding young musicians. Ms. Zhulevawas also the recipient of “The Premiere” Ensemble of Soloists Scholarship. In 2003, Ms. Zhuleva entered the Moscow State Conservatory as a student of Professor Alexandr Bobrovsky. Upon the same year, she was accepted as a member of the Russian National Orchestra (RNO) under Mikhail Pletnev. As a member of the RNO over the next seven years, she participated in many recordings on several prestigious recording labels, including Deutsche Grammophon and Pentatone.
Also in 2003, Ms. Zhuleva was appointed as the violist of the Rusquartet, a professional STRING quartet under the Tutelage of Dmitry Shebalin (from the Borodin String Quartet). For the next seven years Ms. Zhuleva toured with the quartet throughout Russia, Europe and Canada. During that period, the Rusquartet was awarded honorary diplomas and certificates of excellence. Ms. Zhuleva has won numerous competitions in Europe, including the International Quartet Competition held in honor of Shostakovich’s 100th anniversary in Rheinsberg, Germany in 2006 and the prestigious Shostakovich International Quartet Competition in Moscow in 2008.
Before graduating with high honors from the Moscow Conservatory in 2008, Ms. Zhuleva performed in major concert venues in Moscow, such as the Great Hall of Moscow Conservatory, the Tchaikovsky Concert Hall, as well as in Germany, Italy, France and Canada both as a Soloist and as a member of the Rusquartet.
Orquesta Joven de Extremadura

Gianluca Marcianò, conductor
For the biography of Gianluca Marcianò, please refer to the concert of Wednesday, February 15

Wolfgang Amadeus Mozart (January 1756 –1791)
Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364 (320d)
This work towers above other pieces Mozart produced at the time and can be reckoned among his early masterpieces. The key of E-flat major seems to have resonated with a specific character in Mozart’s mind, implying a conflation of majesty and warmth that resurfaces time and again in his compositions set in that key. Here Mozart casts his middle movement in the relative minor key of C minor, one of the rare instances of his including a minor-key movement in a major-key concerto (or near-concerto).

Max Christian Friedrich Bruch (1838 –1920)
Double Concerto for violin & viola with orchestra, in E minor, Op. 88

Franz Schubert (1797 – 1828)
Overture in The Italian Style in D major D 590
Rosamunde – Incidental music, Op.26
Curiously, the best-known part of the Rosamunde music, its overture, was not performed with the play. Under the pressure of his two-week deadline to compose the incidental music (three choruses, three entr’actes, a song, two pieces of ballet music), Schubert did not try to write a new overture, but used the one he had composed the previous year for his opera Alfonso und Estrella . Since that opera had not been performed (it did not reach the stage until 1854), the overture was new to the public in 1823, but when the Rosamunde was published (as late as 1891) as Op. 26, it was not with the Alfonso und Estrella Overture, which had actually introduced the play in the theater, but with a still earlier one which, as noted above, Schubert had composed in 1820 for a different play by a different writer, called The Magic Harp -said to have been even more of a mess than Rosamunde , and even more quickly forgotten. Portions of this overture, in fact, had appeared in a still earlier work, one of the two Overtures in the Italian Style Schubert composed in 1817 (the one in D major, D. 590, which cites a tune from Rossini’s opera Tancredi ) .