Vladimir Davidovich Ashkenazy (sometimes transliterated Ashkenazi) (Russian… Read Full Bio ↴Vladimir Davidovich Ashkenazy (sometimes transliterated Ashkenazi) (Russian: Влади́мир Дави́дович А́шкенази) (born July 6, 1937) is a Russian conductor and, more notably, a pianist. He was born in Nizhny Novgorod, Russia.
Ashkenazy began his studies at the age of 6 and showing prodigious talent, was accepted at the Central Music School at 8. A graduate of the Moscow Conservatory, he won second prize in the prestigious International Frederick Chopin Piano Competition in Warsaw in 1955 and shared first prize in the 1962 International Tchaikovsky Competition with English pianist John Ogdon. He is celebrated for his intelligent and well thought-out interpretations. He often recorded with the London Philharmonic Orchestra; two of these recordings were of the Emperor Concerto by Beethoven, and a number of Rachmaninoff pieces (including his Second Concerto).
He has recorded the complete 24 Preludes and Fugues of Shostakovich, and Chopin's entire works for piano.
Midway through his pianistic career, Ashkenazy branched into conducting. His performances of the Sibelius symphonies have been lauded in particular. He was the principal conductor of the Royal Philharmonic Orchestra from 1987 to 1994, and in 1998 he became principal conductor of the Czech Philharmonic Orchestra, a position he held until September 1, 2003.
Vladimir Ashkenazy is currently President of the Rachmaninoff Society.
An excellent resource covering Ashkenazy's musical philosophy and opinions on many other subjects is the book Beyond Frontiers (New York: Atheneum, 1985) which he co-wrote in 1985 with his associate Jasper Parrott.
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Awards and Recognitions
Grammy Award for Best Chamber Music Performance:
* Vladimir Ashkenazy, Lynn Harrell & Itzhak Perlman for Beethoven: The Complete Piano Trios (1988)
* Vladimir Ashkenazy, Lynn Harrell & Itzhak Perlman for Tchaikovsky: Piano Trio in A Minor (1982)
* Itzhak Perlman & Vladimir Ashkenazy for Beethoven: Sonatas for Violin and Piano (1979)
Grammy Award for Best Instrumental Soloist Performance (without orchestra):
* Vladimir Ashkenazy for Shostakovich: 24 Preludes & Fugues, Op. 87 (2000)
* Vladimir Ashkenazy for Ravel: Gaspard de la Nuit; Pavane Pour Une Infante Defunte; Valses Nobles et Sentimentales (1986)
Ashkenazy began his studies at the age of 6 and showing prodigious talent, was accepted at the Central Music School at 8. A graduate of the Moscow Conservatory, he won second prize in the prestigious International Frederick Chopin Piano Competition in Warsaw in 1955 and shared first prize in the 1962 International Tchaikovsky Competition with English pianist John Ogdon. He is celebrated for his intelligent and well thought-out interpretations. He often recorded with the London Philharmonic Orchestra; two of these recordings were of the Emperor Concerto by Beethoven, and a number of Rachmaninoff pieces (including his Second Concerto).
He has recorded the complete 24 Preludes and Fugues of Shostakovich, and Chopin's entire works for piano.
Midway through his pianistic career, Ashkenazy branched into conducting. His performances of the Sibelius symphonies have been lauded in particular. He was the principal conductor of the Royal Philharmonic Orchestra from 1987 to 1994, and in 1998 he became principal conductor of the Czech Philharmonic Orchestra, a position he held until September 1, 2003.
Vladimir Ashkenazy is currently President of the Rachmaninoff Society.
An excellent resource covering Ashkenazy's musical philosophy and opinions on many other subjects is the book Beyond Frontiers (New York: Atheneum, 1985) which he co-wrote in 1985 with his associate Jasper Parrott.
[edit]
Awards and Recognitions
Grammy Award for Best Chamber Music Performance:
* Vladimir Ashkenazy, Lynn Harrell & Itzhak Perlman for Beethoven: The Complete Piano Trios (1988)
* Vladimir Ashkenazy, Lynn Harrell & Itzhak Perlman for Tchaikovsky: Piano Trio in A Minor (1982)
* Itzhak Perlman & Vladimir Ashkenazy for Beethoven: Sonatas for Violin and Piano (1979)
Grammy Award for Best Instrumental Soloist Performance (without orchestra):
* Vladimir Ashkenazy for Shostakovich: 24 Preludes & Fugues, Op. 87 (2000)
* Vladimir Ashkenazy for Ravel: Gaspard de la Nuit; Pavane Pour Une Infante Defunte; Valses Nobles et Sentimentales (1986)
Chopin: Mazurka No.13 in A minor Op.17 No.4
Vladimir Ashkenazy Lyrics
We have lyrics for these tracks by Vladimir Ashkenazy:
Dances of the Dolls: Lyric Waltz Hi Miss Alice. Anata Garasu no me de Donna yume wo Mirareru …
Prelude In C Sharp Minor Op.3 No.2 Four five six eight Rainbow come late These bitter days So s…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@_noahrh
This piece is so haunting, melancholy, dark, velvety, soothing, and perfect.
@ButterflyHurricane79
My fav! In love with this piece ever since. You can hear Chopin's voice in it! Need to study it again. :(
@exeem1302
Imagine the exacting care it takes to carry a musical ideal from such treacherous heights down to earth and instrumentalise it without so much as disturbing an angelhair on its golden head. I'm just grateful there are those who've the gift to bear such a struggle and share its fruits! Thanks for the upload: I've never felt so grounded and formless at the same time.
@CalvinMitchell
My favorite of the mazurkas...just discovered it within the last few years.
@user-cb2wg7xj7j
спасибо за нотный текст, реально удобно вникать)
@theonesaracen6289
Anyone learning, don't take the performance of a master as the final word. I'm in no position to criticise someone of the calibre of Ashkenazy, and I love his playing in general, but seems with all kinds of pianists that a bit of natural professional complacency can creep in. Give the score thoughtful attention and try and imagine for yourself what is meant by someone like Chopin. The two sharp crescendos 18 bars before the end, how does one interpret such a near-impossible marking - the first theme returning across the wind of a desolate waste? It's a question and challenge that is pretty much skipped in this performance. And the final chords 'perdendosi', shouldn't they be heard as if calling lost in the snow, fading, swelling slightly, and fading, hopelessly distant? It's a forlorn and listless series of chords to begin with, the extra perdendosi should really tell, but Ashkenazy doesn't bother with it.
@jimkeller3868
Damn. Brilliant.
@blckisle
my favorite mazurka. the movie "the empire of the sun" brought me here.
@10mimu
That introduction...so longing
@bricecout
Poignante mélancolie.