Saturday, September 27, 2025, 7:30 pm, Meridian Arts Centre, 5040 Yonge St
Unforgettable melodies by Dvorak and Mendelssohn, and a fabulous violin virtuoso plays the Shostakovich Sonata in a stunning orchestra version
SINFONIA TORONTO
NURHAN ARMAN Conductor
IGOR PIKAYZEN Violinist
Program
MENDELSSOHN String Symphony No. 2 in D Major
SHOSTAKOVICH Sonata for Violin, Percussion and Orchestra, Op. 134
DVORAK Serenade for Strings
PERFORMER BIOGRAPHIES
Igor Pikayzen, Violinist - Award-winning Russian-American violinist Igor Pikayzen is confidently establishing himself as one of the most prodigious and in-demand soloists of his generation. Praised on four continents by critics and audiences alike for his “astounding technical ability and a majestically lush tone...the stylish Igor Pikayzen” (Strad) is “surely at the forefront of a major musical career” (Moscow Times).
2022-23 sees the release of Igor Pikayzen’s recording of works by Glazunov and Tchaikovsky with the London Philharmonic Orchestra for Warner Music, as well as a CD of violin-piano fantasies with longtime collaborator, Tatyana Pikayzen. Upcoming and recent appearances include debuts and re-engagements with Sinfonia Toronto, Filarmónica de Boca del Rio, Russian State Symphony Orchestra, Orquesta Sinfónica del Estado de México, Sinfónica Nacional de Chile, Eastern Connecticut Symphony Orchestra, Orquesta Sinfónica de Xalapa, National Symphony of Georgia, Zhejiang Symphony Orchestra, La Crosse Symphony amongst others. An avid recitalist, Mr. Pikayzen’s season includes recitals at the Dame Myra Hess series in Chicago, the Gina Bachauer series in Salt Lake City, debuts at the Ohrid Music Festival in Macedonia and Solisti Festival in France, as well as returns to recital series in New York, Taipei, Mexico City and Denver.
Previous solo appearances include the Moscow Radio Symphony, London Philharmonic Orchestra, Kielce Philharmonic, Filarmonica din Bacău, Bialystok Philharmonic, Istanbul Symphony, Stamford Symphony, Czestochowa Philharmonic, Izmir Symphony, Arts Blooming Ensemble Taiwan, Tbilisi Opera Orchestra,Yokohama Sinfonietta and countless others under the batons of Lior Shambadal, Łukasz Borowicz, Brett Mitchell, Gürer Aykal, Toshi Shimada, Jorge Mester, Daniel Huppert, Hobart Earle, Jerzy Salwarovski, Roman Revueltas, Enrique Batiz, Thomas Rösner, Vakhtang Matchavariani, Christopher Lyndon-Gee, Alexander Platt and Emil Tabakov. Mr. Pikayzen has appeared as a soloist and chamber musician in Carnegie Hall and Alice Tully Hall in New York City, Tchaikovsky Hall and Minor Hall in Moscow, Teatro del Lago in Frutillar, Congreso Nacional in Santiago, Eslite Performance Hall in Taipei, Flagey and Le Bozar in Brussels, Gates Performing Arts Center in Denver, L’Auditori in Barcelona, Le Bourget in Montreal, Toronto Arts Center, Centro Nacional de las Artes in Mexico City and Cadogan Hall in London, to name just a few. He is a guest at the most prestigious festivals in the world, such as Verbier and Schubertiade Sion, in Switzerland, Festival Napa Valley and Festival Mozaic in California, Night Serenades in Georgia, etc.
Grandson of the legendary Soviet violinist Viktor Pikayzen, Igor Pikayzen was born in Moscow, Russia. After receiving his Bachelor's Degree from Juilliard, as well as a Master's Degree and Artist Diploma from the Yale School of Music, he was the recipient of the coveted Enhanced Chancellor Fellowship while working on his DMA at the CUNY Graduate Center where he was also on the faculty of Brooklyn Conservatory. Pikayzen is the 1st prize winner of the 2015 Edition of the International Violin Competition Luis Sigall in Viña del Mar, Chile as well as the Gold Medal Winner at the Wronski International Violin Competition in Warsaw, in addition to being a silver medalist at the Szeryng and Kloster-Schöntal international violin competitions. A Violin Channel Artist, Mr. Pikayzen shares his time between New York, Denver and Westport, CT, where he launched an annual summer music festival, Edelio. A frequent guest professor in the most prestigious universities across Europe, Asia, North & South America, in 2019 he was announced as the new Professor of Violin at the Lamont School of Music at the University of Denver.
Sinfonia Toronto now in its 26th season, has toured twice in Europe, in the US, South America and China, receiving glowing reviews. It has released six CD’s, including a JUNO Award winner, and performs in many Ontario cities. Its extensive repertoire includes all the major string orchestra works of the 18th through 21st centuries, and it has premiered many new works. Under the baton of Nurhan Arman the orchestra’s performances present outstanding international guest artists and prominent Canadian musicians.
Maestro Nurhan Arman has conducted throughout Europe, Asia, South America, Canada and the US, returning regularly to many orchestras in Europe. Among the orchestras Maestro Arman has conducted are the Moscow Philharmonic, Deutsches Kammerorchester Frankfurt, Filarmonica Italiana, St. Petersburg State Hermitage Orchestra, Orchestre Regional d’Ile de France, Hungarian Symphony, Arpeggione Kammerorchester, Milano Classica and Belgrade Philharmonic.
PROGRAM NOTES
String Symphony No. 2 in D Major by Felix Mendelssohn (1809-1847)
Mendelssohn composed his String Symphony No. 2 as part of a set of twelve, all written between 1821 and 1823, when the composer was not yet fifteen years old. Intended for string orchestra, the works were all influenced by Mozart, Haydn and Carl Philipp Emanuel Bach. The symphony we hear tonight follows the classical tradition and highlights Mendelssohn’s early gift for creating beautiful melodies, lively rhythms and clear textures.
The first movement Allegro follows typical sonata-allegro form. It is bright, lively, and full of youthful energy. The first theme is joyful and rhythmic, with quick violin passages. The second theme is more lyrical, offering a contrast with the strong rhythm of the first. As the themes are developed with counterpoint and dynamic contrasts, the string sections interact in a call-and-response dialogue. Near the end, the main themes return, reinforcing the cheerful mood, and a brief coda brings the movement to a satisfying close.
The second movement is a gentle, lyrical and expressive Andante in a ternary ABA form. The first section features a flowing, song-like melody; the middle section introduces harmonic tension before returning to the main theme. The simple opening allows for an expressive presentation, while the more adventurous middle section includes contrapuntal writing, showing off Mendelssohn’s early mastery of musical structure. The movement ends with a peaceful return of the main melody.
The third movement Allegro vivace has a rondo-like form (ABACA) and is playful, energetic, and dance-like. The main theme is lively, with rapid string passages driving strong forward motion. The contrasting sections offer moments of lyrical expression before returning to the energetic theme. Syncopation and quick bowing add excitement. The movement builds gradually toward a spirited conclusion.
This work blends the clarity of Mozart and the playfulness of Haydn with an early hint of Mendelssohn’s mature Romantic style. The 12 symphonies were not published during Mendelssohn’s lifetime, but were rediscovered in the 20th century and are now often performed. Tonight’s work shows Mendelssohn’s natural talent for melody, precise craft, and a deep understanding of orchestral writing, even at such a young age.
Sonata for Violin, Percussion and Orchestra in G Major, Op. 134 by Dmitri Shostakovich (1906-1975)
Orchestra version by Mikhail Zinman and Andrei Pushkarev
Shostakovich composed his Violin Sonata in G Major, Op. 134 in 1968 as a birthday gift for the famous violinist David Oistrakh, who was turning 60. It is one of Shostakovich’s last major chamber works, written during a time of declining health and deep reflection. Unlike his grand violin concertos, this sonata is personal and introspective, filled with tension, irony, and deep emotion.
Shostakovich originally wrote the sonata for violin and piano, but others have arranged it for violin and orchestra. These versions add orchestral color while preserving the stark contrasts and emotions of the original.
The first movement Andante is slow and meditative, with an eerie, restrained atmosphere. It opens with plucked violin notes against a backdrop of quiet, tolling chords, creating a haunting stillness. The violin’s melody, fragmented and speech-like, adds to the unsettling mood. While the intensity builds at times, it never fully erupts, leaving the movement quiet and introspective. Shostakovich uses a twelve-tone row that gives the music a detached, uneasy quality. The movement also features sarcastic, grotesque moments reminiscent of his Symphony No. 15. Occasional references to Russian Orthodox chant suggest spiritual reflection.
The Scherzo is an Allegretto, fast and wild, making us think of a twisted dance. It features sharp, jagged violin lines and forceful piano chords. The solo violin part is technically demanding, requiring special techniques like bowing near the bridge (sul ponticello) and bouncing the bow (ricochet). The relentless, pulsing rhythms recall Shostakovich’s darker, more aggressive works, such as his Piano Quintet. After a brief, lyrical section, the music quickly returns to frantic, biting energy, and ends suddenly, leaving a feeling of unease,
The last movement Largo is mournful and deeply expressive. It follows a passacaglia form, with a repeating bassline underpins the melody. The violin plays long, singing lines, sometimes using plucking (pizzicato) and flute tones (harmonics) to create a heavenly, unearthly sound. The mood is tragic yet resigned. Shostakovich subtly references earlier works such as his Symphony No. 15. The sonata ends quietly, with soft, unresolved harmonics, evoking a sense of farewell.
Orchestral adaptations, such as the one we hear tonight, ensure the solo violin is never overpowered. The use of twelve-tone elements, the grotesque scherzo, and mournful melodies make this one of Shostakovich’s most striking late works. It is a powerful farewell from one of the 20th century’s greatest composers.
Serenade for Strings by Antonin Dvořák (1841-1904)
Antonín Dvořák was born into a poor family in rural Bohemia. Fortunately, his talent won him admission to the Prague Conservatory and then to the violin section of the National Theatre Orchestra, conducted by composer Bedřich Smetana, whose operas made a strong impression on him. By 1873 he was teaching and composing more than playing. Hs works attracted the attention of Johannes Brahms, who arranged for publication and promotion of Dvořák’s works by his own publisher, Simrock, one of Europe’s most prominent. With a growing reputation over the next eight years, in 1891 Dvořák was appointed to the faculty of the Prague Conservatory.
Dvořák composed his Serenade within just two weeks in May 1875, a joyous time in his life: he had a happy young marriage, his first son had just been born, and his works were receiving increased recognition. The Serenade reflects all this by following the classical style of a multi-movement work that is rather light in tone, meant to be entertaining rather than profound; but Dvořák’s joy and his passionate musicality shine forth so intensely that the Serenade becomes symphonic in scope, and in many places deeply moving. Its expressive harmonies, clear counterpoint, coherent form and masterful use of the strings as a choir make it one of the greatest works ever composed for string orchestra.
The Serenade is in five movements. Except for the finale, which is in modified sonata form, each movement is essentially an A-B-A structure. But each is more sophisticated and intricate than this basic scheme indicates. Dvořák juxtaposes contrasting melodic ideas and develops them in imaginative ways, often using imitation and counterpoint to extend his themes. The first movement opens with a flowing melody punctuated by fragments of its own beginning in the cellos and bass; more counterpoint adds texture to each of the successive movements.
The warm and expressive first movement is followed by a splendid waltz, lightly tinged with minor-key nostalgia. The Scherzo includes a well-developed Trio section for contrast, like the minuet movements of classical serenades, and has a concluding coda that incorporates material from the main Scherzo itself and from the Trio, lengthening and adding nuance to its A-B-A form. After a tender slow movement, the Finale bursts with the gaiety of a Bohemian village dance. In the midst of this celebration, Dvořák recalls the melody of the slow movement and then the opening of the first movement, gracefully rounding off a musical cycle.
Sinfonia Toronto respectfully acknowledges that we work in the Treaty Lands and Territory of the Mississaugas of the Credit First Nation and the traditional territory of the Huron-Wendat and Haudenosaunee peoples