Narek Hakhnazaryan, cello, with Noreen Polera, piano, at the BMA
Location: Baltimore Museum of Art
Awarded the Gold Medal at the 2011 XIV International Tchaikovsky Competition, 24-year old cellist Narek Hakhnazaryan’s powerful and poetic playing has propelled his meteoric career. “Mr. Hakhnazaryan projected intensity from the moment he took the stage. To the very end, his intense focus and expressive artistry never flagged,” said The New York Times. Mr. Hakhnazaryan makes his ‘Discovery Series’ Debut in a program of Schumann, Beethoven, Shostakovich, Rachmaninoff, and Paganini.

Narek Hakhnazaryan
Hakhnazaryan was born in 1988 in Armenia, to a family of musicians: his father is a violinist and his mother a pianist. At age 12, he began studies at the Moscow Conservatory and, working with Laurence Lesser, he received the Artist Diploma from the New England Conservatory of Music in 2011. He plays a 1698 Tecchler cello, on loan from Valentine Saarmaa, granddaughter of the renowned luthier Jacques Francais.
Hakhnazaryan’s powerful and poetic playing has earned him First Prize and Gold Medal at the 2011 International Tchaikovsky Competition in Moscow. He made his first concerto appearance at Lincoln Center’s Alice Tully Hall with the Orchestra of St. Luke’s on the Young Concert Artists Gala, as well as performances with the London Symphony and the Mariinsky Orchestra under Valery Gergiev; a five-concert tour across Europe with the Moscow Philharmonic; and with other international orchestras in Milan, Jerusalem, and Tokyo.
Hakhnazaryan also appears in recitals with US orchestras and is regularly invited to perform in Europ at the Verbier, Beethoven, and Tivoli festivals. As a chamber musician, he has performed with the Boston Chamber Music Society and at Ravinia’s Steans Institute; in the Caramoor Festival’s “Rising Stars” series; and at the Young Concert Artists Festival in Tokyo.
As First-Prize winner in the 2008 Young Concert Artists International Auditions, Hakhnazaryan made his New York debut in the Young Concert Artists Series at Carnegie’s Zankel Hall and in Washington, at the Kennedy Center, both to critical acclaim.
Scholarships from the Rostropovich Russian Performing Arts Fund brought him concerts in Russia, Great Britain, Greece, Turkey, and Canada. His prizes include First Prize in the 2006 Aram Khachaturian International Competition in Armenia and First Place in the 2006 Johansen International Competition for Young String Players.
NOREEN POLERA, piano
Noreen Cassidy-Polera ranks among the most highly-regarded and diverse chamber artists performing today and maintains a career that has taken her to every major American music center and to Europe, Russia, and Asia. Winner of the Accompanying Prize at the Eighth International Tchaikovsky Competition in Moscow, Polera regularly collaborates with laureates of the Queen Elisabeth, Tchaikovsky, and Naumburg international competitions.
Polera has collaborated with leading soloists David Shifrin, Matt Haimovitz, Carter Brey, Antonio Menesis, Aurora-Natalie Ginastera, Yo-Yo Ma, and Leonard Rose. She is renowned and in-demand for her mastery of the complete standard cello-piano repertory as is her attention and dedication to the works of living composers. In recent seasons, she performed Elliott Carter’s Sonata for Cello and Piano on tour in Paris, New York, and Philadelphia along with new works to critical acclaim. Her CD recording Sound Vessels with cellist Scott Kluksdahl features the recording premiere of Richard Wernick’s Duo and works by Robert Helps and Augusta Read Thomas as well as Elliott Carter. Polera holds the Bachelor and Master of Music degrees from The Juilliard School.
“He produces a powerful and colorful sound in all registers, nails every big shift and flashes all the virtuoso’s tricks with insolent ease. He should have a stellar career.” - The Washington Post
Robert Schumann (1810-1856)
Fantasiestücke, Op. 73
- I. Zart und mit Ausdruck
- II. Lebhaft, leicht
- III. Rasch und mit Feuer
Program notes coming soon - please check back!
Ludwig Van Beethoven (1770 – 1827)
Sonata No. 3 for Cello and Piano in A Major, Op. 69
- I. Allegro ma non tanto
- II. Scherzo: allegro molto
- III. Adagio cantabile; Allegro vivace
Beethoven's third cello sonata is a fully mature work, written between 1807 and 1808 at about the time he was composing his Fifth and Sixth symphonies. It is dedicated to Baron Ignaz von Gleichenstein, who at this period was one of the composer's closest friends, handled many of his business affairs, and, moreover, was an outstanding amateur cellist. Undoubtedly, Beethoven and von Gleichenstein played the work together. The manuscript score shows Beethoven labored hard—and successfully—to achieve a balanced partnership between the cello and the piano, frequently redistributing the melodic material between the instruments.
In overall tone, this lovely work harkens back to slightly earlier Beethoven pieces, notably the Violin Concerto with its emphasis on singing lyricism and a mood of serene optimism. Therefore, Beethoven's inscription on the manuscript score seems puzzling: "Inter Lachrimas et Luctum"—"Amid Tears and Sorrow." Whatever sorrow he may have been feeling at that time is thoroughly sublimated in this music. Two big lyric themes and a number of attractive subsidiary melodies propel the sonata-form first movement. But it is the noble first theme, so well suited to the cello, which is the real leader, dominating both the richly eventful development section and the fine closing coda. Following a brief, impassioned excursion into the minor mode, the cello also sings the more ecstatic second theme, soaring upward on a long scale into its expressive alto register.
The second-movement scherzo is a Beethovenian rhythmic game in which cello and piano are usually out-of-step with each other. The piano opens with a lurching syncopated theme. But when the cello tries to imitate its limping gait, the piano straightens up for a regular ONE-two-three rhythm, launching a continual tug-of-war. This A-Minor scherzo alternates with a mellow trio in A Major featuring warm chords for the cello; the piano, however, continues limping off-the-beat in the background.
A gorgeous cantabile (singing) rhapsody—an embryonic slow movement—opens the finale. But after only 18 measures it breaks off for the Allegro vivace, which combines two lyrical themes with dashing energy. In this sonata-form movement, we hear much more of the spirited first theme, which Beethoven makes the subject of his compactly exciting development section. But the second theme deserves our attention, too; it begins with a little pleading phrase in the cello's high register so eloquent it almost speaks words. Throughout, Beethoven provides plenty of sparkling fast passagework to show off both soloists' virtuosity.
Notes by Janet E. Bedell copyright 2007
Intermission
Dmitry Shostakovich (1906-1975)
Cello Sonata in D Minor, Op. 40
- I. Allegro non troppo
- II. Allegro
- III. Largo
- IV. Allegro
Program notes coming soon - please check back!
Sergey Rachmaninoff (1873-1943)
Vocalise, Op. 34, No. 14
View NotesProgram notes coming soon - please check back!
Niccolò Paganini (1782-1840)
Variations on a Theme from Rossini’s Moses in Egypt, Op. 24
View NotesProgram notes coming soon - please check back!