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• Violin concerto in D major, op. 35 / Pyotr Ilyich Tchaikovsky
• Introduction & rondo capriccioso, op. 28 / Camille Saint-Saëns
• Sonata for solo violin, Sz. 117. Melodia / Béla Bartók
• La Capricieuse, Op. 17 / Edward Elgar.

Astounding virtuosity, incomparable musicianship: Ivry Gitlis, the violin blessed by the Gods. "I need to play to feel alive. The day I stop, will mean I am dead." The youthful man who expresses himself in this way is Ivry Gitlis, who was born in Haïfa in 1922 and is fortunately still well alive! He plays, as he did in March 2008 at the Salle Pleyel with Martha Argerich. An adventurer, he always counted on his lucky star to feed him when he was broke: he left for New York by boat without a penny to take lessons with Professor Pashrus. On board he was invited every evening to dinner by a generous philanthropist who gave him a thousand dollars once he set foot in New York. Curious about everything and eager to experience new sensations, he played with the Rolling Stones, John Lennon, Eric Clapton and Dizzy Gillespie, among others. After a childhood in Israel, where his father worked as a miller, he studied at the Paris Conservatory where Bronislav Huberman had sent him. He obtained a First Prize at the age of thirteen and became the disciple of Jacques Thibaud. "A man violin" says the student of the master. A refugee in England during the war, he won the Fifth Prize (only!) in the Long-Thibaud Competition in 1951 and made his debut the same year in Paris. He has played with the greatest orchestras and shares his love for music with the greatest artists (Martha Argerich, Pierre Fournier, Mischa Maisky &, who gather each summer at the Festival de Vence which he founded. He is certainly one of the most talented and brilliant violinists of the 20th century. His agility is amazing, as in his astonishing interpretation of Tchaikovsky's Violin Concerto in D Major Op. 35€ accompanied by the National Orchestra of the ORTF conducted by Francesco Mander: from his bow the music springs forth like a stream and we don't know which to admire more, his virtuosity or his musical intelligence. In the three pieces that follow, Introduction and Rondo Capriccioso by Saint-Saëns; Bartók's Sonata for Solo Violin, Sz.117€ (III Melodia) and La Capricieuse by Elgar, Ivry Gitlis' violin, thanks to his amazing natural ease, rivals with the most beautiful singing. Pyrotechnic trills, stratospheric high notes, throaty accents and dazzling colors, the instrument no longer exists, there remains the music and "a man violin." The disciple follows in the master's footsteps. Archives: - "Les grands interprètes, " INA archive by Gérard Herzog, 1962. - "Les secrets de l'orchestre, " INA archive by Annie Aizieu, 1965. - "La rose des vents, " INA archive by Claude Deflandre, 1971.

• Variations on a theme by Corelli, Op. 42 / Sergei Rachmaninov
• Piano Concerto in G Major / Maurice Ravel
• Piano Concerto No. 2 in G Minor, Op. 22 / Camille Saint-Saëns
• Black Earth / Fazil Say
• Snegurochka, Op. 12 (The Snow Maiden) / Pyotr Ilyich Tchaikovsky.

A pianist-composer described as who "play[ing] like a devil" (Aribert Reimann), Fazil Say performs here two important concertos of his instrument's repertoire: Ravel's Piano Concerto in G Major (one of the last works he ever composed) and Saint-Saëns's Piano Concerto No. 2 in G Minor (originally written for Anton Rubinstein in 1868). Say then performs one of his own compositions, Black Earth, inspired by a popular song in Turkey, Kara Toprak. The program is framed by Rachmaninov's Variations on a Theme by Corelli--performed here in its French premiere in Corneliu Dumbraveaunu's orchestration--and Tchaikovsky's Snegurochka ("The Snow Maiden"), a work inspired by a Russian folktale.

In October and November 2010, Valeriy Sokolov recorded the Tchaikovsky Concerto in D for Virgin Classics with the Tonhalle-Orchester-Zürich conducted by David Zinman, in the Tonhalle Great Hall. On this occasion, Bruno Monsaingeon filmed the recording sessions and discussions with Valeriy Sokolov and David Zinman on one side, and his violin teacher, Mark Lubotski, on the other! What a lineup!

• The Seasons, Op. 37a. Juin : barcarolle / Pyotr Ilyich Tchaikovsky
• Nocturne in D Minor, Op. 19 No. 4 / Pyotr Ilyich Tchaikovsky
• Trio in A Minor, Op. 50, "In memory of a great artist" / Pyotr Ilyich Tchaikovsky.

The Russian musicians give the best of their souls for a Tchaikovsky concert. An evening entirely dedicated to Tchaikovsky, with the best Russian musicians today: Boris Berezovsky on piano, Alexander Kniazev on cello and Dmitri Makhtin on violin. This masterpiece of chamber music composed by Tchaikovsky "In Memory of a Great Artist, " his friend Nikolaï Rubinstein, is steeped in a sublime lyricism and is the high point of this exceptional evening. Wonderfully committed to the full measure of their Slav souls, the three musicians release a torrent of emotions and Berezovsky appears to play the role of the conductor. The Barcarolle in G Minor played by a Berezovsky in apparent weightlessness, the Nocturne in D Minor played by the Kniazev-Berezovsky duo in a state of grace and the Sérénade Mélancolique by the other Makhtin-Berezovsky duo in apnoea shows the depth of the Trio's immersion in the music.

After his work on the Prokofiev works with the London Symphony Orchestra, Valery Gergiev starts recording the complete Tchaikovsky symphonies with the Mariinsky Theatre Orchestra. Tchaikovsky composed the 5th symphony ten years after finishing the 4th. He spends the following five years composing the last work of this symphonic epic, the Sixth, also known as "Pathetic." His last three symphonies are considered united by a common idea: one man facing his destiny. The public generally love these latter three the most; they are also performed and recorded more often than the three early symphonies. They demonstrate the huge sense of orchestration that makes Tchaikovsky one of the greatest Russian maestros.

• Symphony No. 1 in G Minor, Op. 13, "Winter Daydreams" / Pyotr Ilyich Tchaikovsky
• Eugene Onegin, Op. 24. Polonaise / Pyotr Ilyich Tchaikovsky.

After his work on the Prokofiev works with the London Symphony Orchestra, Valery Gergiev starts recording the complete Tchaikovsky symphonies with the Mariinsky Theatre Orchestra. Tchaikovsky composes his 5th symphony ten years after finishing the 4th. He spends five years afterwards composing the last work of this symphonic epic, the Sixth, also known as "Pathetic." His last three symphonies are considered united by a common idea: one man facing his destiny. The public generally love these latter three symphonies the most; they are also performed and recorded more often than the three early symphonies. However, they demonstrate the huge sense of orchestration that makes Tchaikovsky one of the greatest Russian maestros.

After his work on the Prokofiev works with the London Symphony Orchestra, Valery Gergiev starts recording the complete Tchaikovsky symphonies with the Mariinsky Theatre Orchestra. Tchaikovsky composed the 5th symphony ten years after finishing the 4th. He spends the following five years composing the last work of this symphonic epic, the Sixth, also known as "Pathetic." His last three symphonies are considered united by a common idea: one man facing his destiny. The public generally love these latter three the most; they are also performed and recorded more often than the three early symphonies. They demonstrate the huge sense of orchestration that makes Tchaikovsky one of the greatest Russian maestros.

After his work on the Prokofiev works with the London Symphony Orchestra, Valery Gergiev starts recording the complete Tchaikovsky symphonies with the Mariinsky Theatre Orchestra. Tchaikovsky composed the 5th symphony ten years after finishing the 4th. He spends the following five years composing the last work of this symphonic epic, the Sixth, also known as "Pathetic." His last three symphonies are considered united by a common idea: one man facing his destiny. The public generally love these latter three the most; they are also performed and recorded more often than the three early symphonies. They demonstrate the huge sense of orchestration that makes Tchaikovsky one of the greatest Russian maestros.

After his work on the Prokofiev works with the London Symphony Orchestra, Valery Gergiev starts recording the complete Tchaikovsky symphonies with the Mariinsky Theatre Orchestra. Tchaikovsky composed the 5th symphony ten years after finishing the 4th. He spends the following five years composing the last work of this symphonic epic, the Sixth, also known as "Pathetic." His last three symphonies are considered united by a common idea: one man facing his destiny. The public generally love these latter three the most; they are also performed and recorded more often than the three early symphonies. They demonstrate the huge sense of orchestration that makes Tchaikovsky one of the greatest Russian maestros.

After his work on the Prokofiev works with the London Symphony Orchestra, Valery Gergiev starts recording the complete Tchaikovsky symphonies with the Mariinsky Theatre Orchestra. Tchaikovsky composed the 5th symphony ten years after finishing the 4th. He spends the following five years composing the last work of this symphonic epic, the Sixth, also known as "Pathetic." His last three symphonies are considered united by a common idea: one man facing his destiny. The public generally love these latter three the most; they are also performed and recorded more often than the three early symphonies. They demonstrate the huge sense of orchestration that makes Tchaikovsky one of the greatest Russian maestros.