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Vladimir Ashkenazy

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Vladimir Ashkenazy

Vladimir Ashkenazy, Russian pianist and conductor, retires with immediate effect

20 January 2020, 11:08 | Updated: 20 January 2020, 12:33

By Kyle Macdonald

The announcement marks the end of a glittering career for the conductor-pianist that has spanned 70 years.

Russian pianist and conductor Vladimir Ashkenazy , 82, has retired from all public performances. The announcement was made on Friday in a post by his long-time artist manager, Jasper Parrott.

Parrott called it a “sombre day”, citing Ashkenazy’s “dedication to the great human gift of music” over the decades.

Ashkenazy first came to prominence on the world stage in 1955, winning second prize in the International Chopin Piano Competition in Warsaw. A year later, he was awarded first prize in the Queen Elisabeth Music Competition in Brussels and the Tchaikovsky Competition in 1962.

Since his first break-out, he built an extraordinary career as one of the outstanding – and most-loved – pianists of the 20th century.

Read more: These are the 25 best piano players of all time >

He has recorded for the Decca record label since 1963, and is most renowned for his releases of piano works by Rachmaninov , Shostakovich and Chopin .

His recording of Beethoven 's Piano Trios with violinist Itzhak Perlman and cellist Lynn Harrell won 1988 Grammy Award Best Chamber Music Performance.

Since the mid-1980s, Ashkenazy worked primarily as a conductor. He was principal conductor of the Royal Philharmonic Orchestra from 1987 to 1994, and Classic FM's Orchestra on Tour, the Philharmonia , appointed him Conductor Laureate in 2000. From 2009 to 2013, he was chief conductor of the Sydney Symphony Orchestra.

Vladimir Ashkenazy, our Conductor Laureate and long-standing collaborator, has shared with us the news that he has chosen to step down from conducting. Vova has been part of the Philharmonia family for 50 years, so today we want to pay tribute to one of our closest friends pic.twitter.com/IT7j76giRy — Philharmonia Orchestra (@philharmonia) January 17, 2020

In 2017, we spoke to Ashkenazy about what it takes to be a pianist. In the video below, the great virtuoso gives his tips for young players at the beginning of their careers.

Read more: Ashkenazy says ‘I don’t think we can make political points with music’ >

Ashkenazy had concerts scheduled with the Sydney and Melbourne Symphony Orchestras in May and June 2020, as well as performances of Tchaikovsky and Shostakovich with the Philharmonia Orchestra at the Riga Jurmala Music Festival in August.

Parrott said that, while the news was sad for his fans, “we can all take comfort in the sure knowledge that music, even if not in public performance, will continue to inhabit every hour of his life and will be shared with joy and satisfaction within his devoted family and among his friends”.

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Vladimir Ashkenazy

Conductor Laureate

Vladimir Ashkenazy was appointed Conductor Laureate of the Philharmonia Orchestra in ­­2000 and conducts the Orchestra in London, across the UK and internationally.

One of the few artists to combine a successful career as a pianist and conductor, Russian-born Vladimir Ashkenazy inherited his musical gift from both sides of his family; his father David Ashkenazy was a professional light music pianist and his mother Evstolia (née Plotnova) was daughter of a chorus master in the Russian Orthodox church. Ashkenazy first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw and as first prize-winner of the Queen Elisabeth Competition in Brussels in 1956. Since then he has built an extraordinary career, not only as one of the most outstanding pianists of the 20th century, but as an artist whose creative life encompasses a vast range of activities and continues to offer inspiration to music-lovers across the world.

Conducting has formed the larger part of Ashkenazy’s activities for the past 30 years. In addition to his performances with the Philharmonia in London and around the UK each season, and in countless tours with them worldwide, he has also developed landmark projects such as Prokofiev and Shostakovich Under Stalin (a project which he also took to Cologne, New York, Vienna and Moscow) and Rachmaninoff Revisited (which was also presented in Paris). Last season Ashkenazy and the Philharmonia undertook a European tour with soloists Evgeny Kissin and Vadim Repin. In September 2014, he leads the orchestra in a ground-breaking tour of Latin America with soloists Nelson Freire and Esther Yoo, including concerts in Mexico City, Lima, Bogotá, São Paulo and Rio de Janeiro.

Ashkenazy is also Music Director of the European Union Youth Orchestra, with whom he tours each year, and Conductor Laureate of both the Iceland and NHK Symphony orchestras. He has previously held posts as Principal Conductor and Artistic Advisor to the Sydney Symphony Orchestra (2009-13), and Chief Conductor of the Czech Philharmonic Orchestra and Music Director of NHK Symphony Orchestra. He maintains strong links with other major orchestras including The Cleveland Orchestra (where he was formerly Principal Guest Conductor) and Deutsches Symphonie-Orchester Berlin (Chief Conductor and Music Director 1988-96). He regularly makes guest appearances with many other major orchestras around the world.

Ashkenazy maintains his devotion to the piano, these days mostly in the recording studio where he continues to build his extraordinarily comprehensive recording catalogue. This includes the Grammy award-winning Shostakovich Preludes and Fugues , Rautavaara’s Piano Concerto No. 3 (a work which he commissioned), Bach’s Wohltemperierte Klavier , Rachmaninov Transcriptions and Beethoven’s Diabelli Variations . Spring 2013 saw the release of ‘Ashkenazy: 50 Years on Decca’ – a 50-CD box-set celebrating his long-standing relationship with the label. In 2014, Decca released a milestone collection of Ashkenazy’s vast catalogue of Rachmaninov’s piano music, which also includes all of his recordings as a conductor of the composer’s orchestral music.

Beyond his performing schedule, Ashkenazy has also been involved in many TV projects, inspired by his passionate drive to ensure that serious music retains a platform in the mainstream media and is available to as broad an audience as possible. He has collaborated extensively with legendary documentary-maker Christopher Nupen, and has been involved in programmes such as Music After Mao (filmed in Shanghai in 1979), and Ashkenazy in Moscow , which followed his first return to Russia since leaving the USSR in the 1960s. More recently he has developed educational programmes with NHK TV including the 1999 Superteachers, working with inner-city London school children, and in 2003-4 a documentary based around his project Prokofiev and Shostakovich Under Stalin .

Vladimir Ashkenazy on the Path of Jean Sibelius

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Vladimir Ashkenazy: Chopin . Favourite Piano Works : Vladimir Ashkenazy 02/02

Vladimir Ashkenazy: Chopin: Favorite Piano Works

• Waltz No. 1 in E-Fla...
• Impromptu No. 4 in C...
• Chopin: Nocturne No....
• Chopin: Waltz No.3 i...
• Mazurka No. 23 in D,...
• Scherzo No. 2 in B-f...
• Waltz No. 9 in A-Fla...
• Nocturne No. 5 in F-...
• Chopin: Waltz No.10 ...
• Ballade No. 1 in G m...
• Chopin: Mazurka No.5...
• Waltz No. 11 in G-Fl...

Vladimir Ashkenazy: Sonata in B flat major, Wandererfantasie

Vladimir Ashkenazy: 127 Hours

Vladimir Ashkenazy: Peter Tchaikovsky - Passion For Piano

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Vladimir Ashkenazy

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Conductor Laureate: Philharmonia Orchestra Conductor Laureate: NHK Symphony Orchestra Conductor Laureate: Iceland Symphony Orchestra Conductor Laureate: Sydney Symphony Orchestra Principal Guest Conductor: Orchestra della Svizzera Italiana

One of the few artists to combine a successful career as a pianist and conductor, Russian-born Vladimir Ashkenazy inherited his musical gift from both sides of his family; his father David Ashkenazy was a professional light music pianist and his mother Evstolia (née Plotnova) was daughter of a chorus master in the Russian Orthodox church . Ashkenazy first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw and as first prize-winner of the Queen Elisabeth Competition in Brussels in 1956 . Since then he has built an extraordinary career, not only as one of the most outstanding pianists of the 20 th century, but as an artist whose creative life encompasses a vast range of activities and continues to offer inspiration to music-lovers across the world.

Conducting has formed the larger part of Ashkenazy’s activities for more than 35  years. He continues his longstanding relationship with the Philharmonia Orchestra, who appointed him Conductor Laureate in 2000 . In addition to his performances with the orchestra in London and around the UK each season, Vladimir Ashkenazy joins the Philharmonia Orchestra on countless tours worldwide. In the past, Ashkenazy and the Philharmonia have developed landmark projects such as Voices of Revolution: Russia 1917 at Southbank Centre last season , Prokofiev and Shostakovich Under Stalin (a project which he also took to Cologne, New York, Vienna and Moscow) and Rachmaninoff Revisited (which was also presented in Paris).

In 2019 , Vladimir Ashkenazy was named as the very first Conductor Laureate of Sydney Symphony Orchestra. This appointment has been made in recognition of his 50  year association with the Orchestra which began in 1969 and is an honour never before bestowed on any previous Sydney Symphony conductor. One of the most revered figures in classical music, the legendary pianist and veteran conductor accepts this position having entered his ninth decade. The young-at-heart musician who has a most impressive array of awards and recognitions to his name, as well as a vast discography both as a pianist and a conductor, Ashkenazy enjoys a career rich in achievement but remains, despite the prestige, a musician of the greatest dignity and unparalleled spiritual height. He has continued, for more than 60  years, to thrill audiences around the world and to shape profoundly many generations of musicians, maintaining an incredible level of trust and respect from them. A person of great warmth, humility and generosity, he has contributed immensely to the underprivileged and to humanity in general, reaching well beyond his contribution as a musician.

Ashkenazy is also Conductor Laureate of both the Iceland and NHK Symphony orchestras and Principal Guest Conductor of the Orchestra della Svizzera Italiana. Previously he has held posts as Music Director of the EUYO , Chief Conductor of the Czech Philharmonic Orchestra and Music Director of NHK Symphony Orchestra. He maintains strong links with other major orchestras including The Cleveland Orchestra (where he was formerly Principal Guest Conductor) and Deutsches Symphonie-Orchester Berlin (Chief Conductor and Music Director 1988  –  96 ). He regularly makes guest appearances with many other major orchestras around the world. 

Ashkenazy maintains his devotion to the piano, these days mostly in the recording studio where he continues to build his extraordinarily comprehensive recording catalogue. This includes the Grammy award-winning album of Shostakovich’s Preludes and Fugues , Rautavaara’s Piano Concerto No. 3 (a work which he commissioned), Bach’s Wohltemperierte Klavier, Rachmaninov’s Transcriptions and Beethoven’s Diabelli Variations , ​ ‘ Ashkenazy: 50 Years on Decca’ — a  50 -CD box-set celebrating his long-standing relationship with the label , a milestone collection of Ashkenazy’s vast catalogue of Rachmaninov’s piano music, which also includes all of his recordings as a conductor of the composer’s orchestral music. 2017 saw the release of his latest album, Bach’s French Suites , and two new box sets — Vladimir Ashkenazy’s Complete Concerto recordings and a personal selection of solo and chamber works.

Beyond his performing schedule, Vladimir Ashkenazy has also been involved in many television projects, inspired by his passionate drive to ensure that serious music retains a platform in the mainstream media and is available to as broad an audience as possible. He has collaborated extensively with legendary documentary-maker Christopher Nupen, and has been involved in programmes such as Music After Mao (filmed in Shanghai in 1979 ), and Ashkenazy in Moscow, which followed his first return to Russia since leaving the USSR in the 1960 s, and educational programmes with NHK TV including the 1999 Superteachers , working with inner-city London school children, and in 2003  –  4 a documentary based around his ​ ‘ Prokofiev and Shostakovich Under Stalin’ project.

“ The Cleveland Orchestra joined two old friends — guest conductor Vladimir Ashkenazy and pianist Emanuel Ax […] Ashkenazy set the first movement up with a true pianissimo and a leisurely, spacious tempo that gave Ax plenty of room to express himself […] Communication between soloist, conductor, and orchestra was mesmerizing. Ashkenazy and the Orchestra’s strings gave those outer movements an ebullient performance, and brought out Elgar’s elegiac side in the expressive Larghetto. Sunday’s program ended in an explosion of orchestral color with Elgar’s Enigma Variations. What fun it would have been to be one of the composer’s friends and find your personality captured in these thumbnail sketches. The sonorous opening leads to fourteen witty, brilliant, sometimes bittersweet musical portraits, including one identified only as *** (an enigma within an enigma). Canny pacing from Ashkenazy and playing of uncommon brilliance and transparency from The Cleveland Orchestra and its many soloists made this a performance to cherish.”

“ The orchestra Friday evening welcomed Ashkenazy like a favorite uncle, treating their guest, a regular since 1968 but absent since 2010 , to two uniformly stellar performances of works by Elgar, and supported Ax with affection in Beethoven’s Piano Concerto No. 1 . After the first work on the program, one can only ask: where has Elgar’s Serenade for Strings been since 1996 ? Maybe Ashkenazy, the one who performed it then as well, is the key, the one uniquely capable of unlocking the work’s elegance and supreme tenderness of feeling. Maybe he’s the only one who can elicit from Cleveland’s strings such clarity and tonal sheen. Different, much more famous work by Elgar after intermission. Same electrifying effect by Ashkenazy. You would think, after so many performances over the years, that the Cleveland Orchestra couldn’t get better in the ​ “ Enigma Variations,” that within those 14 musical portraits, there wouldn’t be anything left to reveal. You would be wrong. With Ashkenazy at the helm Friday, the orchestra made the popular score sound almost new. With him, the piece was again the virtuoso showcase it really is, the treasure-trove of melody and brilliant orchestration.”

“ There is great intensity to Eisenstein’s images of terrifying violence and the Shostakovich arrangement underlines this. […] Ashkenazy drew muscular and detailed playing from the Philharmonia Orchestra. He also gave the music light and shade.”

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Vladimir Ashkenazy

For the Russian-born pianist and conductor, matters of personality are secondary. On the verge of his 75th birthday, he sees himself as a craftsman in the service of music.

One expects aloofness and grandeur from a living legend. A touch of arrogance is not out of place - perhaps even welcome. Meeting Vladimir Ashkenazy runs counter to such expectations. Modest with a natural air, he puts those around him at ease. A look at the small hands with stubby fingers, and one might never think this pianist's name belongs to any serious survey of concert music in the 20th and 21st centuries. New countries, new career

Vladimir Davidovich was born July 6,1937, in the former Soviet Union. His father, David Ashkenazi, was a Jewish pianist and composer. The boy's extraordinary talent for the piano started to show at the age of 6. At 18, he won second prize at the International Chopin Competition in Warsaw.

Though his professional prospects were outstanding, he could not adapt to life under Stalinist rule. "The communist system is such that the Communist Party - which is the government - controls the physical, intellectual and spiritual life of every person," he said. "That was the case in the Soviet Union and Eastern Europe and, of course, in China later. And in North Korea now: This is the most extreme case, I would say."

Ashkenazy finally managed to leave the USSR in 1963 with his Icelandic wife, Thorunn, and children, moving first to London and then to Switzerland. He began a new phase of his career as a pianist in the West.

Besides making exhaustive forays into the solo piano repertoire from Bach through the 20th century, he has taken part in numerous chamber music formations, playing with the most renowned orchestras and conductors of present time. Russian music remains a focal point of his activities throughout.

In the year 1976 he entered another phase in his wide-ranging career: He took up conducting - in part for the challenge, but mostly "because there is very much good music for the orchestra. That is why," he remarked. The magic of economy

Characteristics like economy, directness and objectivity come to mind watching Ashkenazy rehearse with the Deutsches Symphonie Orchester Berlin (DSO), during their South America tour.

The maestro's interruptions and comments are friendly and aimed ultimately at restoring the letter of the score. In the first movement of Beethoven's "Pastorale," for instance, he sees to it that the bassoon's staccatos sound even shorter in the already dry theatre acoustics. And towards the end of the movement, he systematically suppresses any rallentando that might drag down the musical discourse.

For some of the musicians, this approach is too depersonalized. But one thing is certain: during the actual concert, everything seemed to fall marvellously into place.

One of the orchestra's wind players has a theory: Ashkenazy's way of leaving the instrumentalists more or less "alone" puts them healthily on edge, forces them to listen to the whole and participate, instead of leaning back, waiting for the cue and routinely playing their part. Perhaps this is creates the magic on stage, the young DSO performer suggested. Funny bones

Ashkenazy is also known for his antics. On stage, he may hold his baton between his teeth like a bone, or use it for a surreptitious back scratch, Chaplin-like. Or he may peep cheekily into the audience before a concert begins until someone calls: "Maestro, please!"

Nevertheless, music remains a serious matter for the pianist turned conductor. His critique of Mahler's symphonies is openly personal: "Mahler always centers on himself," Ashkenazy said, drawing a contrast with Schumann, who "was ill most of his life, and yet his music is so generous!"

In conversation as on the podium, Ashkenazy consistently rejects any attempt to prioritize "his" musical intentions above those of the composers. But he also tries to avoid idolization.

"My basic aim is to do my job as well as I can," he said. When pushed further, he stated his terse artistic credo: "I don't need to emphasize anything. Music does it for me."

Author: Augusto Valente Editor: Greg Wiser

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Vladimir ashkenazy on the mystery of making music, reviewing the dso's tour in south america, tugan sokhiev reflects on russian tradition, related topics.

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Vladimir Ashkenazy

Conductor Laureate

Russian-born Vladimir Ashkenazy inherited his musical gift from both sides of his family: his father David Ashkenazy was a professional light music pianist and his mother Evstolia (nee Plotnova) was daughter of a chorus master in the Russian Orthodox church. He first came to prominence in the 1955 Chopin Festival in Warsaw and after winning the 1956 Queen Elisabeth Competition in Brussels. He established himself as one of the premier pianists of the 20th century before expanding his musical interests to include conducting.

A regular visitor to Sydney, Vladimir Ashkenazy first came to Australia, as a pianist, in 1969. Since then he has conducted the Sydney Symphony Orchestra in subscription concerts and composer festivals. He was the orchestra’s Principal Conductor and Artistic Advisor from 2009 to 2013. Highlights of his tenure were the Mahler Odyssey, a concert performance of Tchaikovsky’s Queen of Spades and several international tours.

In 2018 the Sydney Symphony Orchestra was able to announce that Vladimir Ashkenazy had accepted the position of Conductor Laureate.

Vladimir Ashkenazy’s associations with other orchestras include the Philharmonia Orchestra (London), which made him their Conductor Laureate in 2000. He is also Conductor Laureate of the Iceland Symphony Orchestra and of the NHK Orchestra, Tokyo, and Principal Guest Conductor of the Orchestra della Svizzera Italiana. Previous posts included Music Director of the European Union Youth Orchestra and Chief Conductor of the Czech Philharmonic Orchestra. He maintains strong links with the Cleveland Orchestra and Deutsches Symphonie-Orchester Berlin (where he held titled positions).

Ashkenazy maintains his devotion to the piano, these days mostly in the recording studio. His discography also records his work as a conductor, including direction of Rachmaninoff’s orchestral music. Milestone recordings include 50 Years on Decca – a box set celebrating his long-standing relationship with the label.

Beyond performing and conducting Ashkenazy has been involved in many TV projects, inspired by a vision of music maintaining a presence in the mainstream media and reaching as wide an audience as possible.

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Vladimir Ashkenazy

About this artist.

In the years since VLADIMIR ASHKENAZY first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career not only as one of the most renowned and revered pianists of our times, but as an artist whose creative life encompasses a vast range of activities and continues to offer inspiration to music-lovers across the world.

Conducting has formed the largest part of his activities for the past 20 years and, following on from his period as Chief Conductor of the Czech Philharmonic from 1998 to 2003, he took up the position of Music Director of the NHK Symphony Orchestra in Tokyo in September 2004. This relationship has already shown immense promise with an enthusiastically received tour in Summer 2004, including performances at the Schleswig-Holstein Music Festival and the Concertgebouw in Amsterdam. Plans for the coming seasons include major tours of Europe and the USA as well as recordings of Beethoven and Tchaikovsky symphonies.

Alongside this position, Ashkenazy continues to have a warm and rewarding relationship with the Philharmonia Orchestra as their Conductor Laureate. In addition to his performances with the orchestra in London and around the UK each season, he tours with them throughout the world and has developed landmark projects such as 'Prokofiev and Shostakovich Under Stalin' in 2003 (a project which he also took to Cologne, New York, Vienna, and Moscow) and 'Rachmaninoff Revisited' in 2002 at Lincoln Center, New York.

Ashkenazy also holds the positions of Music Director of the European Union Youth Orchestra, with whom he tours each year, and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras with whom he has built special relationships over the years, including the Cleveland Orchestra (of whom he is a former Principal Guest Conductor), the San Francisco Symphony, and the Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director 1988-96), as well as making guest appearances with many other major orchestras around the world.

While conducting takes up a significant portion of his time each season, Ashkenazy continues to devote himself to the piano, directing Mozart and Beethoven concertos from the keyboard in performances in Europe and Asia, and continuing to build his extraordinarily comprehensive recording catalog with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara's Piano Concerto No. 3 (a work which he commissioned), and Rachmaninoff Transcriptions. Most recently released is his recording of that most challenging and enriching of works, Bach's Wohltemperierte Klavier.

Beyond his hectic and fulfilling performing schedule, Ashkenazy continues to be involved in some fascinating TV projects, often inspired by his passionate drive to ensure that serious music continues to have a platform in the mainstream media and is made available to as broad an audience as possible. Many will remember the extraordinary Ashkenazy in Moscow programs which marked his first visit in 1989 to the country of his birth since leaving the USSR in the 1960s. More recently he has developed educational programs with NHK TV including the 1999 Superteachers working with inner-city London school children, and in 2003/04 a documentary based around his 'Prokofiev and Shostakovich Under Stalin' project.

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Vladimir Ashkenazy will release his new recording of Bach’s ‘English Suites 1 – 3’ with his first Bach recording from 1965, the ‘Concerto in D minor’.

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Vladimir Ashkenazy has announced he will release his new recording of Bach’s English Suites 1 – 3 on a unique double album with his first Bach recording from 1965, the Concerto in D minor , on 15 October 2021. Over half a century, a remarkable 56 years, spans the two recordings marking the longest exclusive association between pianist and record label, Decca Classics, in history.

“He always allows Bach his own voice”

Vladimir Ashkenazy’s new recording of Bach’s English Suites 1 – 3 is the latest addition to his discography of the major keyboard works by the composer. Gramophone noted, “He always allows Bach his own voice, his manner at once masterly and self-effacing”.

Vladimir Ashkenazy began with his critically acclaimed recording of ‘The 48’ (the 48 Preludes & Fugues of The Well-Tempered Clavier ). “The pianist’s straightforward, intelligent, and vibrantly clear interpretations are a joy to hear”, observed Classics Today and Gramophone added, “You will surely return to Ashkenazy for his unfailing lucidity and musicianship.”

His following Bach releases included the Italian Concerto and the complete French Suites and Six Partitas , described by the Washington Post as, “A feast for the ears. These are poised, elegant readings”.

One of the most outstanding pianists of our time

World-renowned pianist and conductor Vladimir Ashkenazy first came to prominence on the world stage in 1955 when he won second prize in the International Frédéric Chopin Piano Competition in Warsaw. In 1956 he won first prize in the Queen Elisabeth Music Competition in Brussels and in 1962 he won joint first prize, with John Ogdon, in the International Tchaikovsky Competition. He established himself not only as one of the most outstanding pianists of our time, but as an artist whose creative life encompasses a vast range of activities and continues to offer inspiration to music lovers around the world.

Vladimir Ashkenazy signed to Decca in 1963 and remains the longest-serving artist on the label. He immediately became associated with the Russian repertoire and his first releases included concertos by Rachmaninov and Tchaikovsky. Decca then suggested he recorded Bach’s Concerto in D minor which was the start of his fascinating journey with the composer he perhaps reveres above all others. Ashkenazy noted, “Next to Bach I am nothing”.

Vladimir Ashkenazy’s recording of Bach’s English Suites 1 – 3 will be released on 15 October 2021 and can be pre-ordered here .

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Vladimir Ashkenazy | News | New Bach recording from Decca legend Vladimir Ashkenazy over half a century after his first

New bach recording from decca legend vladimir ashkenazy over half a century after his first.

More music from Vladimir Ashkenazy

VLADIMIR ASHKENAZY Complete Solo Recordings

BACH English Suites 1–3 / Ashkenazy

BEETHOVEN Cello Sonatas / Harrell

CHOPIN Ballads / Ashkenazy

FRANCK Violin Sonata BRAHMS Trio

MOZART · BEETHOVEN Quintets

SCHUBERT Piano Sonatas / Ashkenazy

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PROKOFIEV Piano Sonatas Nos. 7 & 8

Vladimir Ashkenazy

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Happy birthday, Vladimir Ashkenazy!

Vladimir Ashkenazy

Ben Ealovega for Decca

The Chicago Symphony Orchestra family wishes the magnificent pianist and conductor Vladimir Ashkenazy a very happy 85th birthday!

Ashkenazy catapulted onto the world stage in 1955 after winning second prize in the International Chopin Piano Competition in Warsaw. He was awarded first prize in both the Queen Elisabeth Competition in Brussels in 1956 and the International Tchaikovsky Competition in 1962.

"Pound for pound, he may be the most pyrotechnic pianist in the whole world," wrote Seymour Raven in the Chicago Tribune, following Ashkenazy's Orchestra Hall recital debut, presented under the auspices of Allied Arts on October 19, 1958. Seven years later, after his Chicago Symphony Orchestra debut in Prokofiev's Second Piano Concerto, Thomas Willis (also in the Tribune ) commented, the "volcanic [pianist], whose two previous recitals here marked him as a man to watch, had everything it takes to get the locomotor going full speed and most of the qualities to sustain momentum. The big tone for melodies framed the structure in iron. The bravura technique took in stride the hammering octaves, scales which sweep the keyboard, and arpeggio lightning which galvanizes the Russian bear intermezzo into a furious climax. . . . This combination of work, soloist, and orchestra could lift you right out of your seat more than once."

During the first tour to Europe in 1971 , Ashkenazy joined the Orchestra on the first leg in Edinburgh on September 5, performing Mozart's Piano Concerto no. 20 under Georg Solti . In May 1971 and 1972, he recorded Beethoven’s five piano concertos with the CSO, again with Solti conducting. Recording sessions took place at the Krannert Center  for the Performing Arts at the University of Illinois at Urbana-Champaign, and for  London Records , the recording was produced by David Harvey and  Kenneth Wilkinson  was the recording engineer. The set of all five concertos won the  1973   Grammy Award  for  Best Classical Performance—Instrumental Soloist or Soloists (with orchestra) .

For nearly 50 years, Vladimir Ashkenazy was a regular visitor to the stage in Orchestra Hall. In January 2020, he announced that he would be retiring from public performance, capping a career that spanned nearly 70 years.

A complete list of his appearances — with the Chicago Symphony Orchestra, as a piano recitalist, and as a guest conductor with visiting orchestras — is below.

October 28, 29, and 30, 1965, Orchestra Hall November 1, 1965, Pabst Theater, Milwaukee PROKOFIEV Piano Concerto No. 2 in G Minor, Op. 16 Irwin Hoffman , conductor

March 27, 1967, Pabst Theater, Milwaukee 30 and 31, 1967, Orchestra Hall BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Jean Martinon , conductor

July 25, 1968, Ravinia Festival BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 Alfred Wallenstein , conductor

December 5, 6, and 7, 1968, Orchestra Hall December 9, 1968, Pabst Theater, Milwaukee PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 William Steinberg , conductor

October 30, 31, and November 1, 1969, Orchestra Hall November 3, 1969, Pabst Theater, Milwaukee MOZART Piano Concerto in D Minor, K. 466 Eliahu Inbal , conductor

July 16, 1970, Ravinia Festival PROKOFIEV Piano Concerto No. 2 in G Minor, Op. 16 István Kertész , conductor

May 7 and 8, 1971, Orchestra Hall BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Georg Solti, conductor

July 20, 1971, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 István Kertész, conductor

September 5, 1971, Usher Hall, Edinburgh, Scotland MOZART Piano Concerto in D Minor, K. 466 Georg Solti, conductor

May 20, 1972, Orchestra Hall BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19 BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 Sir Georg Solti, conductor

May 21, 1972, Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign, Urbana BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15 Sir Georg Solti, conductor

March 1, 2, and 3, 1973, Orchestra Hall RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 Lorin Maazel , conductor

November 7, 8, and 9, 1974, Orchestra Hall PROKOFIEV Piano Concerto No. 5 in G Major, Op. 55 Carlo Maria Giulini , conductor

January 18 and 20, 1980, Orchestra Hall BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 Sir Georg Solti, conductor

Under the auspices of Allied Arts and Symphony Center Presents, Ashkenazy has appeared as piano recitalist, chamber musician and guest conductor, as follows (*program book not on file; repertoire culled from advertisements and newspaper clippings).

October 19, 1958, Orchestra Hall BRAHMS Variations and Fugue on a Theme by Handel, Op. 24 CHOPIN Nocturne in B Major, Op. 9, No. 3 CHOPIN Scherzo No. 4 in E Major, Op. 54 LISZT Mephisto Waltz No. 1 RACHMANINOV Variations on a Theme by Corelli, Op. 42 PROKOFIEV Sonata No. 7 in B-flat Major, Op. 83

*November 18, 1962, Orchestra Hall MOZART Sonata No. 9 in D Major, K. 311 PROKOFIEV Sonata No. 6 in A Major, Op. 82 CHOPIN Etudes, Op. 25

*May 16, 1971, Orchestra Hall HAYDN Sonata in E-flat Major, Hob. XVI:52 BEETHOVEN Piano Sonata No. 23 in F Minor, Op. 57 (Appassionata) CHOPIN Sonata No. 3 in B Minor, Op. 58

March 4, 1973, Orchestra Hall DOHNÁNYI String Quartet No. 3 in A Minor, Op. 33 SHOSTAKOVICH String Quartet No. 2 in A Major, Op. 68 SCHUMANN Piano Quintet in E-flat Major, Op. 44 Chicago Symphony String Quartet Victor Aitay , violin Edgar Muenzer , violin Milton Preves , viola Frank Miller , cello

*February 17, 1974, Orchestra Hall BEETHOVEN Sonata No. 3 in C Major, Op. 2, No. 3 BEETHOVEN Sonata No. 30 in E Major, Op. 109 CHOPIN Fantasy in F Minor, Op. 49 CHOPIN Impromptu in F-sharp Major, Op. 36 CHOPIN Ballade No. 4 in F Minor, Op. 52 CHOPIN Scherzo in E Major, Op. 54

*March 20, 1977, Orchestra Hall SCRIABIN Sonata No. 2 in G-sharp Minor, Op. 19 SCRIABIN Two Poems, Op. 32 SCRIABIN Sonata No. 7, Op. 64 (White Mass) SCRIABIN Sonata No. 10, Op. 70 SCRIABIN Four Pieces, Op. 56 RACHMANINOV Études-Tableaux, nos. 2 (Allegro in C major), 6 (Allegro con fuoco in E-flat major), 7 (Moderato in G minor), and 3 (Grave in C minor) RACHMANINOV Selections from Ten Preludes, Op. 23 and Thirteen Preludes, Op. 32

*January 21, 1979, Orchestra Hall BEETHOVEN Sonata No. 16 in G Major, Op. 31, No. 1 SCHUMANN Davidsbündlertänze, Op. 6 CHOPIN Fantasy in F Minor, Op. 49 CHOPIN Ballade in A-flat CHOPIN Nocturne in F-sharp Minor, Op. 48, No. 2 CHOPIN Scherzo in C-sharp Minor

*February 20, 1981, Orchestra Hall BEETHOVEN Sonata No. 31 in A-flat Major, Op. 110 BEETHOVEN Sonata No. 32 in C Minor, Op. 111 CHOPIN Sonata No. 3 in B Minor, Op. 58 CHOPIN Nocturne in D-flat Major, Op. 27, No. 2

*March 20, 1983, Orchestra Hall BEETHOVEN Sonata No. 28 in A Major, Op. 101 BEETHOVEN Sonata No. 30 in E Major, Op. 109 SCHUBERT Klavierstücke No. 1 in E-flat Minor and No. 2 in E-flat Major, D. 946 SCHUBERT Fantasy in C Major, D. 760 (Wanderer)

*April 29, 1984, Orchestra Hall SCHUBERT Sonata in B-flat Major, D. 960 SCHUMANN Papillons, Op. 2 SCHUMANN Symphonic Etudes, Op. 13

December 9, 1990, Orchestra Hall BEETHOVEN Sonata No. 31 in A-flat Major, Op. 110 BEETHOVEN Sonata No. 32 in C Minor, Op. 111 BRAHMS Klavierstücke, Op. 119 BRAHMS Variations on a Theme by Handel, Op. 24

November 15, 1992, Orchestra Hall MENDELSSOHN Selections from A Midsummer Night's Dream, Op. 61 BAX Tintagel SHOSTAKOVICH Symphony No. 10 in E Minor, Op. 93 Royal Philharmonic Orchestra

November 10, 1997, Orchestra Hall KODÁLY Dances of Galánta MENDELSSOHN Violin Concerto in E Minor, Op. 64 Christian Tetzlaff , violin BRAHMS Symphony No. 1 in C Minor, Op. 68 Deutsches Symphonie-Orchester Berlin

March 31, 2000, Orchestra Hall JANÁČEK Suite from The Cunning Little Vixen DVOŘÁK Violin Concerto in A Minor, Op. 53 Kurt Nikkanen, violin PROKOFIEV Symphony No. 5 in B-flat Major, Op. 100 Czech Philharmonic

March 7, 2003, Orchestra Hall SHOSTAKOVICH/Barshai Chamber Symphony for Strings in C Minor, Op. 110a PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10 Lukáš Vondráček, piano DVOŘÁK Symphony No. 7 in D Minor, Op. 70 Czech Philharmonic

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Frank Villella is the director of the Chicago Symphony Orchestra Association's Rosenthal Archives.

Vladimir Ashkenazy

Internationally acclaimed, Russian-born classical pianist and conductor.

Vladimir Ashkenazy came to prominence at the 1955 Chopin Competition in more...

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Vladimir ashkenazy, conductor laureate.

Vladimir Ashkenazy holds the position of Conductor Laureate. Ashkenazy has conducted the orchestra regularly since the early 1970s.

In the years since Vladimir Ashkenazy first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an artist whose creative life encompasses a vast range of activities and continues to offer inspiration to music-lovers across the world.

Conducting has formed the largest part of his activities for the past 20 years and, following on from his period as Chief Conductor of the Czech Philharmonic from 1998 to 2003, Ashkenazy took up the position of Music Director of NHK Symphony Orchestra in Tokyo in September 2004. In Autumn 2005 he completed his second highly successful European tour with them, including a televised concert at the Vienna Musikverein which marked the orchestra's debut in this prestigious venue. Their regular work in Tokyo has included several television broadcasts and special programmes, such as a commemoration in Spring 2006 of Toru Takemitsu, a composer whom Ashkenazy greatly admires – and in homage to whom he directed ‘Riverrun' from the keyboard in this concert.

After a short visit to Seoul in June 2006 they undertook a major tour of the United States including Walt Disney Hall in Los Angeles, San Francisco, Philadelphia, Boston and Carnegie Hall in New York. Alongside his position with the NHK Symphony Orchestra, Ashkenazy continues to have a warm and rewarding relationship with the Philharmonia Orchestra as their Conductor Laureate. In addition to his performances with the orchestra in London and around the UK each season, he tours with them worldwide, and has developed landmark projects such as ‘Prokofiev and Shostakovich Under Stalin' in 2003 (a project which he also took to Cologne, New York, Vienna and Moscow) and ‘Rachmaninoff Revisited' in 2002 at the Lincoln Center, New York.

Ashkenazy also holds the positions of Music Director of the European Union Youth Orchestra, with whom he tours each year, and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras with whom he has built special relationships over the years, including the Cleveland Orchestra (of whom he is a former Principal Guest Conductor), San Francisco Symphony and Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director 1988-96), as well as making guest appearances with many other major orchestras around the world.

While conducting takes up a significant portion of his time each season, Ashkenazy continues to devote himself to the piano, directing Mozart and Beethoven concertos from the keyboard in performances in Europe and Asia, and continuing to build his extraordinarily comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara's Piano Concerto No.3 (a work which he commissioned) and Rachmaninov Transcriptions. Most recently released is his recording of that most challenging and enriching of works, Bach's Wohltemperierte Klavier.

Beyond his hectic and fulfilling performing schedule, Ashkenazy continues to be involved in some fascinating TV projects, often inspired by his passionate drive to ensure that serious music continues to have a platform in the mainstream media and is made available to as broad an audience as possible. Many will remember the extraordinary Ashkenazy in Moscow programmes which marked his first visit in 1989 to the country of his birth since leaving the USSR in the 1960s. More recently he has developed educational programmes with NHK TV including the 1999 Superteachers working with inner-city London school children, and in 2003-4 a documentary based around his ‘Prokofiev and Shostakovich Under Stalin' project.

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“Steinway is the only piano on which the pianist can do everything he wants and everything he dreams. Steinway gives the pianist every opportunity.” October 25, 1957 Vladimir Ashkenazy

Born into a musical Russian family, Vladimir Ashkenazy made his debut in Moscow at eight years old and was subsequently put on track for a musical career and enrolled in Moscow's Central Music School. After several successes in international competitions, Ashkenazy left the Soviet Union for London with his wife, Icelandic pianist Sofia Johannsdottir, on a concert tour and stayed there, building a fruitful relationship with the British record label Decca. He would go on to pursue conducting as well.  

His piano playing is bright and incisive, with clear articulation and intellectual depth that does not interfere with the production of warm feeling. He has exceptional control over tone color. Although he possesses a considerable degree of sheer strength, his excellent playing in delicate passages creates the dominant impression. His repertoire is wide-ranging, and he has recorded most of it, from Haydn to the works of the first half of the twentieth century. He has made particularly valuable recordings of the complete piano works of Chopin, Rachmaninov, and Scriabin. Other excellent series include music of Brahms, Liszt, and the complete Prokofiev concertos. As a conductor, he is highly effective in Russian music, particularly in Prokofiev, and has made the leading recording of that composer's Romeo and Juliet. He has made his own orchestration of Mussorgsky's Pictures at an Exhibition and recorded the work in that highly effective version, in Gortchakov's orchestration, and in its original form as a piano solo. He remains active in both careers.  

Ashkenazy has been a Steinway Artist since 1957.

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