NIKOLAY MADOYAN: virtuoso violinist returns to Cambridge

Nikolay Madoyan: A Cross-Cultural Classical Journey – Virtuoso Violinist Returns to Cambridge

Renowned violinist Nikolay Madoyan is set to return to the West Road Concert Hall for another extraordinary solo recital, following his stellar performance earlier this year. The upcoming concert promises to be a captivating experience, featuring a dynamic blend of European and Armenian classics. Audiences will be treated to a mesmerizing program, including works by iconic composers such as Khachaturian, Schubert, Komitas, Kreisler, Paganini, and more.

This recital is a rare opportunity to embark on an incredible journey through the depths of violin virtuosity, with each piece offering a unique emotional experience. Madoyan’s performance will span centuries, cultures, and genres, taking listeners on an exploration of the violin's expressive voice. Each composition tells its own story, ranging from tender melodies to breathtaking technical brilliance.

Critics have hailed Madoyan for his exceptional talent, with The Strad praising his “mellifluousness of tone” and “well-honed cantabile quality,” which allows him to bring off both youthful pleasantries and profound musical wonders with ease.

A winner of numerous international violin competitions, Madoyan is celebrated for his depth, technical brilliance, and versatility. His artistry has garnered him prestigious awards, including the Knight of Centenary of Violin title by the International Expert Committee, and he is also a recipient of a Guinness World Records title.

Don’t miss this unforgettable evening of music and mastery as Nikolay Madoyan once again graces the stage of Cambridge with a performance that promises to leave a lasting impression.

Programme

Franz Schubert/Heinrich Wilhelm Ernst - Grand Caprice on Schubert's Der Erlkönig (The Erlking) for solo violin, Op. 26 (1854)

Aram Ilyich Khachaturian - Sonata-Monologue for solo violin (1975)

Fritz Kreisler - Recitative and Scherzo-Caprice for solo violin, Op. 6 (1910)

Komitas Vardapet - Tsirani Tsar/Apricot Tree (1902-06)

Niccolò Paganini - Caprice #24 for solo violin Op.1 (1818 ant.)

INTERVAL

Tsolak Bekaryan - Sonata for solo violin No. 2, 1st movement – Grave (1972)

Max Reger - Prelude and Fugue for solo violin No. 6 in D minor, Op. 117 (1909/12)

Yervand Yerkanyan - To be a Slave of Caprices for solo violin (2001)

Niccolò Paganini - Introduction and Variations on the Theme “Nel cor piu non mi sento” from opera “La Molinara” by Giovani Paisiello (1827)

About the Programme

The audience will embark on an incredible journey through the depths of violin virtuosity, spanning centuries, cultures, and genres. Each piece will offer a unique emotional experience by telling a unique story through the expressive voice of the violin.

The evening will begin with Heinrich Wilhelm Ernst’s Grand Caprice on Schubert's Der Erlkönig (1854), a stunning transformation of Schubert’s eerie song into a brilliant display of violin technique.

Next will be Aram Ilyich Khachaturian’s Sonata-Monologue (1975), a profound and introspective work that unfolds like a single, unbroken monologue. With emotional contrasts ranging from intense drama to delicate moments of reflection, Khachaturian’s ability to merge classical structure with Armenian folk influences creates a deeply personal and evocative experience.

Following that, Fritz Kreisler’s Recitative and Scherzo-Caprice (1910) offers a delightful blend of lyrical storytelling and virtuosic display. The expressive recitative gives way to a playful scherzo, filled with intricate passages that showcase Kreisler’s brilliance in combining emotional depth with technical virtuosity.

Then, Komitas Vardapet’s Tsirani Tsar/Apricot Tree (1902-06) will bring the audience to the heart of Armenian folk traditions. With its flowing, lyrical lines, this piece evokes the image of an apricot tree in bloom, capturing the beauty of the Armenian landscape and Komitas’s deep connection to his cultural heritage.

Niccolò Paganini’s Caprice No. 24 (1818 ant.), one of the most famous and challenging works in the violin repertoire, follows. Paganini’s extraordinary technical demands push the limits of the violin, with rapid runs, complex double stops, and intricate bowing techniques that have influenced generations of violinists. This piece remains a true benchmark of virtuosity.

After the interval, the program continues with Tsolak Bekaryan’s Sonata No. 2, 1st movement – Grave (1972). This deeply expressive piece begins with a dramatic and somber movement, filled with dark, brooding lines. Bekaryan’s contemporary voice, blending modernism with traditional elements, provides a powerful meditation on solitude, offering both performer and audience a deeply reflective experience.

Next will be Max Reger’s Prelude and Fugue No. 6 in D minor (1909/12), with sweeping, lyrical lines in the prelude, followed by the rigor and complexity of the fugue. This work showcases Reger’s mastery of counterpoint, rooted in Bach’s tradition, yet marked by his own unique harmonic language.

Yervand Yerkanyan’s To Be a Slave of Caprices (2001) is a modern exploration of virtuosity that pushes the boundaries of violin technique. The piece oscillates between intricate, rapid passages and moments of intense silence, taking both the performer and the audience on an emotional and technical journey. Yerkanyan’s composition challenges conventions while offering a deep and emotional experience.

Finally, the program will conclude with Niccolò Paganini’s Introduction and Variations on the Theme “Nel cor più non mi sento” from the opera La Molinara by Giovanni Paisiello (1827). Paganini transforms Paisiello’s simple melody into a dazzling display of violin technique, with variations that grow in complexity and ornamentation while retaining the charm of the original theme.