Matt Hamovitz
Renowned as a musical pioneer, multi-Grammy-nominated cellist MATT HAIMOVITZ is praised by The New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles” and by The New Yorker as “remarkable virtuoso” who “never turns in a predictable performance.” He brings a fresh ear to familiar repertoire, champions new music, and initiates groundbreaking collaborations, as well as creating innovative recording projects. In addition to his touring schedule, Haimovitz mentors an award-winning studio of young cellists at the Schulich School of Music of McGill University in Montreal and is now the first-ever John Cage Fellow at The New School’s Mannes School of Music in New York City.

Haimovitz made his debut in 1984, at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic. He has gone on to perform on the world’s most esteemed stages, with such orchestras and conductors as the Berlin Philharmonic, the New York Philharmonic with Zubin Mehta, the English Chamber Orchestra with Daniel Barenboim, the Boston Symphony Orchestra with Leonard Slatkin, and the Orchestre Symphonique de Montréal with Kent Nagano. His latest endeavor, THE PRIMAVERA PROJECT, encompasses 81 new commissions from a diverse intersection of North American communities and has been featured in the most recent 59th Venice Biennale Arte.

Making his first recording at 17 with the Chicago Symphony Orchestra, Haimovitz’s recording career encompasses more than 30 years of award-winning work on Deutsche Grammophon (Universal), Oxingale Records, and the PENTATONE Oxingale Series. His honors include the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Premio Internazionale “Accademia Musicale Chigiana.” He studied with Leonard Rose at The Juilliard School and graduated magna cum laude with highest honors from Harvard University. Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.

Dennis Russell Davies
was born in Ohio in 1944 and studied piano and conducting at New York’s Juilliard School. He began his career as music director of the Saint Paul Chamber Orchestra from 1972-80, was a co-founder of the American Composers Orchestra New York in 1977, which he led for 25 years. In 1980 he became GMD of the Staatstheater Stuttgart and GMD of the city of Bonn. As principal conductor, he led the Vienna Radio Symphony Orchestra (1996-2002) and the Stuttgart Chamber Orchestra (1995-2006), and held a professorship in conducting at the Salzburg Mozarteum from 1997 to 2009. From 2002 to 2017 he was opera director and principal conductor of the Bruckner Orchestra Linz and the Linz Opera, from 2009 to 2016 principal conductor of the Basel Symphony Orchestra. Since the beginning of the 2018/19 season, he has been Artistic Director and Principal Conductor of the Filharmonie Brno, and in September 2020 he assumed the post of Principal Conductor at the MDR Symphony Orchestra Leipzig.

Throughout his career, he has conducted the most prestigious orchestras in North America and Europe, and has made guest appearances at major opera houses and international festivals with a diverse operatic repertoire. Davies has always championed contemporary music while paying intense attention to the broad symphonic repertoire.

He left a lasting mark on “his” orchestras, among other things by opening them up to modernity and to new audiences, such as through concerts with Till Brönner, Dave Brubeck, and Keith Jarrett, but also through his constant work on the core symphonic repertoire. Davies was already personally involved with composers such as Glass, Copland, Berio, Cage, Henze, Bernstein, Boulez, Maderna, Kancheli, Pärt, Trojahn, Larcher, Chen Yi, Laurie Anderson, and others in the 1970s and 1980s. Through the many compositional commissions he launched worldwide over five decades, he helped write the music history of the 20th and 21st centuries. Like his contemporaries, he has devoted himself to the great symphonic repertoire such as Shostakovich, Beethoven, Mahler as well as Anton Bruckner. His extensive discography includes the complete recording of Haydn’s 107 symphonies, all the symphonies of Glass, Honegger, and Dvorak (in progress) the great ballet music of Stravinsky both in the orchestral version and in that for piano four hands He is also active as a pianist and chamber musician, and since 2003 has been playing highly successfully in a piano duo with his wife Maki Namekawa.

The MDR Leipzig Radio Symphony Orchestra
is Germany‘s oldest of its kind and celebrating its centenary in the 2023/24 season. Founded to bring music and musical education to an increasing number of listeners, the current task of the orchestra has not changed. However, besides live concerts and regular radio broadcasts, the importance of streaming and other channels of digital distrubution increasingly shape its tasks.

The orchestra reflects the creative spirit of Central Germany, represented by groundbreaking composers such as J.S. Bach, Felix Mendelssohn, Richard Wagner, Robert Schumann, Franz Liszt and Kurt Weill. The MDR Leipzig Radio Symphony Orchestra cultivates the (local) musical traditions and is equally engaged in performance and creation of contemporary music. The recording of unusual and rare repertoire, soundtracks for films, as well as the development of digital formats, especially in the area of education, are also part of the orchestra’s duties.

Chief conductors of very different personalities - including Kristjan Järvi, Jun Märkl, Fabio Luisi, Wolf-Dieter Hauschild, Herbert Kegel, and Hermann Abendroth - have shaped the orchestra. Dennis Russell Davies, Chief Conductor since the summer of 2020, proves again to be an unusual programmer and masterful artistic leader, taking the orchestra to a new level of musical achievement. With 2024 also being the anniversary year for Anton Bruckner, all symphonies, conducted by Davies, will be released in their first version.

Thomas Alexandrovich de Hartmann (1884–1956)
was born on his family’s estate outside of Khoruzhivka, Ukraine. From the age of eleven he studied composition with Anton Arensky, the teacher of Rachmaninov, Prokofiev and Skryabin, and later with Sergei Taneyev, a master of counterpoint and adviser to (and former student of) Tchaikovsky. By the age of fifteen de Hartmann had seen his music published by Jurgenson Edition in Moscow. An accomplished pianist, he studied with Annette Essipova-Leschetizky, who also taught Prokofiev and Skryabin. He graduated from the St Petersburg Conservatoire when he was eighteen.

In 1906 de Hartmann was catapulted to fame in Russia with the performance of his ballet La Fleurette rouge, with Nijinsky, Fokine, Pavlova and Karsavina in the cast: it was staged for seven consecutive seasons in St Petersburg and Moscow. In 1908 he went to Munich, where he met the painter Wassily Kandinsky (1866–1944), who was to become a lifelong friend, and joined the avant-garde in art and music: he was an original member of the ‘Blaue Reiter’ group.

In 1916 he met his spiritual teacher, Georges Ivanovich Gurdjieff (1877–1949), in St Petersburg. With the outbreak of the Russian Revolution in 1917, they fled with a small band of followers across the Caucasus. Eventually they settled in Fontainebleau, outside Paris, where in 1922 Gurdjieff set up his Institute for the Harmonious Development of Man. In an unusual collaboration the two men composed a large body of sacred music from the East, mostly for piano. In 1929 de Hartmann left Gurdjieff’s Institute and moved to the outskirts of Paris, where he supported himself by composing over 50 film scores.

The years from 1934 marked de Hartmann’s most productive period. By the late 1940s he was well known in France and Belgium, where many leading musicians performed his music, among them the cellists Pablo Casals and Paul Tortelier, the flautists Marcel Moyse and Jean-Pierre Rampal, the violinist Alexander Schneider and the conductors Eugène Bigot and Serge Koussevitzky. He developed a strong friendship with Casals, who played and promoted his work at the Prades Festival.

He moved to the United States in 1950, where his last works were composed in a more modernist idiom. He established relations with the conductor Leopold Stokowski and a few other influential musicians, but his health was failing, and he struggled for recognition. He died suddenly from a heart attack in Princeton, New Jersey, on 28 March 1956, three weeks before he was due to give a recital of his music in New York Town Hall.