Program Sarah Kapustin and Jessica Osborne

16 January 2025

Programma januari 2025 (English below)

Karel Szymanowski Mythen (1916), na Metamorfosen van Ovidius

1. La Fontaine d’Arethuse

De naiad Arethusa zwierf graag door de bossen en velden. Op een dag zag ze, vermoeid na een lange jacht, een schitterende, kristalheldere rivier, in de schaduw van zilveren wilgen, en ze werd verleid een bad in het koele water te nemen. Ze zwom wat rond, maar opeens voelde ze iets onder zich. De maagdelijke waternimf wilde hier niets mee te maken hebben, en vluchtte weg. Achter zich hoorde ze een stem 'Waarom vlucht je, mooi meisje?', en haar achtervolger stelde zich voor als de riviergod Alpheus (Alpheios). Met hulp van Artemis vluchtte Arethusa als een zoetwaterstroom onder de oceaan door, helemaal naar Sicilië, en kwam uiteindelijk terecht op Ortygia, het eiland van Artemis, vlak bij Syracuse. Artemis veranderde Arethusa in een fontein om aan haar belager te ontkomen. 

De beroemde fontein is nu nog te zien in Syracuse op Sicilië. Het water van de Griekse Alpheus zou een weg naar de bron gevonden hebben, en vermengde zich met het water van de nimf. Wie een houten beker in de Alpheus zou gooien, vindt hem terug in de bron van Arethusa.

2. Narcissus

Een van de bekendste verhalen over Narcissus speelt zich af rond de praatzieke oreade (bergnimf) Echo. Deze nimf was ooit door de godin Hera gestraft voor haar onophoudelijke gepraat. Als straf kon ze alleen nog maar mensen napraten.

Op een dag viel Echo’s oog op Narcissus. De bergnimf werd smoorverliefd op de jongeling, maar haar liefde met hem delen kon ze niet. Ze kon hem immers alleen maar napraten.

Narcissus was tijdens een van zijn jachtpartijen op een dag alleen en hoorde hij iets ritselen in het bos. Toen hij hardop vroeg wie daar was kon Echo alleen maar antwoorden door hem na te praten. “Wie is daar?”, vroeg de nimf die op slag verliefd was op de jongeling. Narcissus vroeg hierop aan de stem zich openbaar te maken. Echo herhaalde opnieuw de vraag die ze de jongen had horen stellen en deed dat nogmaals toen de jongeling wat geïrriteerd vroeg waarom hij werd genegeerd. Toen Echo besloot zich openbaar te maken en Narcissus tegemoet trad, keerde deze haar gelijk de rug toe. Echo trok zich hierop verdrietig terug in een grot en kwijnde langzaam weg. Alleen haar stem bleef bestaan. Hij is nog altijd te horen, bijvoorbeeld als je geluid maakt in een holle ruimte of grot, waar het geluid weerkaatst.

3. Dryads et Pan

Heel lang geleden leefde er een bloedmooie nimf, Syrinx genaamd. Geen bronstige sater of hitsig boswezen kon Syrinx aankijken zonder meteen op haar verliefd te worden. Wanneer zij verliefd werden, wilden ze zo snel en bruut mogelijk overgaan tot de liefdesdaad.

Op een dag werd Syrinx achterna gezeten door Pan. Hij had het onderlijf van een geitenbok en het bovenlijf van een man. Als een dodelijk gewond dier stootte hij een vreselijk gebrul uit. Syrinx keek paniekerig om zich heen. “Waar kwam dat geschreeuw vandaan?”  Behoedzaam daalde ze de berg verder af. Pan zette stil de achtervolging in. Maar een brandend hart neemt snel risico’s, en toen hij zag dat Syrinx’ voorsprong groter werd, dreef hij zijn tempo op. Syrinx liep zo snel als ze kon weg. Pan grijnsde alleen maar en ging als een maniak achter haar aan. Syrinx sprong met lenige passen over struiken en rotsen, totdat ze bij de zanderige rivier, de Ladoon, aankwam. Ze begon radeloos te jammeren: “O, lieve zusters van me, nimfen van deze kalme rivier, aanhoor mijn smeekbede en geef mij een andere gedaante, zodat die harige geit me met rust laat!” 

Syrinx voelde hoe haar tenen langer en smaller werden en hoe ze zich een weg boorden in de zanderige rivierbodem. Haar mooie, vrouwelijke welvingen verdwenen. Syrinx werd zo dun als een twijgje; ze was tot riet getransformeerd.

Hijgend kwam een zwetende Pan bij het rietveld aan. Nergens was de nimf te bespeuren! Hij brak een van de stengels af. Woedend was hij! Gefrustreerd blies hij op de holle stengel in de hoop dat Syrinx weldra voor hem zou staan. Maar het enige wat dit opleverde, was een treurig melodietje dat uit de holle stengel klonk. “Dat lijkt wel de stem van Syrinx!” En omdat Pan er stellig van overtuigd was dat Syrinx in een van de holle rietstengels gevangen werd gehouden, bleef hij onverdroten verder blazen op het instrument dat hij verkreeg door rietstengels van klein naar groot te ordenen en met bijenwas aan elkaar te lijmen.

Francis Poulenc Sonate (1944/49)

Allegro con fuoco
Intermezzo
Presto tragico

Igor Stravinsky Divertimento from ‘Le Baiser de la Fée’, arr. Dushkin

Sinfonia
Danses suisses
Scherzo
Pas de deux (Adagio - Allegretto grazioso - Coda)

———

Program January 2025


Karel Szymanowski Myths (1916), based of Ovid’s Metamorphoses

1. La Fontaine d’Arethuse

The nymph Arethusa came across a clear stream and began bathing, not knowing it was the river god Alpheus, who flowed down from Arcadia through Elis to the sea. He fell in love with her during their encounter, but she fled after discovering his presence and intentions, as she wished to remain a chaste attendant of Artemis. After a long chase, she prayed to her goddess to ask for protection. Artemis hid her in a cloud, but Alpheus was persistent.

She began to perspire profusely from fear, and soon transformed into a stream. Her stream traveled under the sea to the island of Ortygia, but Alpheus flowed through the sea to reach her and mingle with her waters. A legend of the period, still told in Sicily today, is that a wooden cup tossed into the River Alpheius will reappear in the Fountain of Arethusa in Syracuse.

2. Narcissus

Echo was a nymph whose curse by the goddess Hera left her unable to initiate a spoken sentence on her own, and instead only being able to, in speech, finish a sentence started by someone else. This is the explanation of the aural effect which was named after her.

Echo spied Narcissus, a hunter who was known for his beauty which was noticed by all, while he was out hunting deer with his companions. She immediately fell in love with him and, infatuated, followed quietly.

During the hunt, Narcissus became separated from his companions and called out, ‘is anyone there,’ and heard the nymph repeat his words. Startled, Narcissus answered the voice, ‘come here,’ only to be told the same. When Narcissus saw that nobody had emerged from the glade, he concluded that the owner of the voice must be running away from him and called out again.

Echo's love for Narcissus only grew. Echo's fellow nymphs prayed to Nemesis to punish Narcissus with a love that was equally not reciprocated. Nemesis caused him to fall in love with his own reflection in a pool of water where he wasted away and died, unable to take his eyes away from the beautiful youth he did not recognise as himself. In the end, all that was left of Narcissus was the six-petalled white flower arranged around a golden center that was named after him. 

3. Dryads et Pan

The lusty satyr Pan eagerly pursued the wood nymph Syrinx. Guarding her virtue, she ran until she reached a river and desperately begged her sisters of the stream to transform her. Just as Pan was about to embrace her, Syrinx changed into cattail reeds. When Pan discovered that he was holding nothing but marsh reeds, he sighed in disappointment, causing the wind to blow through the reeds. He was enchanted by the sound, believing it to be the mournful cry of his beloved Syrinx; from the reeds he fashioned a set of pipes so that he could have her with him always.

Francis Poulenc Sonate (1944/49)

Allegro con fuoco
Intermezzo
Presto tragico

Igor Stravinsky Divertimento from ‘Le Baiser de la Fée’, arr. Dushkin

Sinfonia
Danses suisses
Scherzo
Pas de deux (Adagio - Allegretto grazioso - Coda)

Featured soloist on Libero Ensemble's debut album

01 November 2021

Dear friends,

I'm happy to announce that I'm featured on Seasons, the debut album of the young, dynamic Libero Ensemble, as guest soloist in Piazzolla's Cuatro Estaciones Porteñas. Libero invited me to join them for a project as guest soloist, but when Covid hit, the concerts that we had scheduled were cancelled, rescheduled, and cancelled again. Therefore we decided to make it into a recording project, along with Vivaldi's Quattro Stagioni with four soloists-members from the ensemble. We're very proud of the result, and you can order your own copy by visiting this page!

'Hartje Zwolle', a new series by the Rubens Consort!

30 May 2021


The Rubens Consort is pleased to announce a brand new chamber music series, Hartje Zwolle!
All concerts will take place in the Groote Sociëteit: Koestraat 8 in Zwolle.

June 24, 20:30 - Reflections
Duo program with Sarah Kapustin and Roeland Jagers
Works for violin and viola by Mozart, Bach, Martinu, Toch and more

June 27, 15:00 - Flautando
Trio program with Sarah Kapustin, Roeland Jagers and flutist Marieke Schneemann
Works for flute, violin and viola by Beethoven, Reger and van Gilse

July 4, 15:00 - Bach’s Goldberg Variations
arranged for string trio by D. Sitkovetsky
Sarah Kapustin, Roeland Jagers and Sietse-Jan Weijenberg

Reservation is strongly recommended, as we cannot guarantee you a place if you show up at the door.
Please email info@rubensconsort.nl with the following information:
Name and number of guests
Which concert(s) you would like to attend
If you would like to pay in advance, you can pay directly to Stichting Rubens Consort, NL06INGB0009693025.

If you have to cancel for any reason, please let us know immediately so we can offer your place(s) to someone else. Reserved, unpaid tickets will be made available to other guests 15 minutes before the start of the concert.

Ticket prices:
15€ for one concert (10€ for 26 years or younger)
40€ for all three concerts (25€ for 26 years or younger)

Glowing reviews for 'Reflections'!

16 February 2021


My newly released duo album with violist Roeland Jagers, Reflections, is already being enthusiastically praised by the international press! 

Below is a selection from some of the reviews.


De Nieuwe Muze: ‘Instrumental love duets’ by Wenneke Savenije


Read the full review (in Dutch) here.

About Josquin Desprez: “unified and in sync, as if they are wandering hand in hand through the hallways of a cloister.” 

About Martinu: “They dart together through Martinu’s wild garden of notes as two lovers who sing, frolic, bicker and love.” 

About Mozart: “Kapustin and Jagers interpret Mozart with the refined sound and sparkling lightness the music demands.” 

About Toch: “Once again Kapustin and Jagers know how to capture the right tone and how to stimulate each other to achieve optimal musical and instrumental flexibility.”

About Roukens: “To close the two players fall symbolically in each other’s arms in two extraordinarily atmospheric duos…”



Opus Klassiek, Aart van de Wal


Read the full review (in Dutch) here.

“…the composition of the program completely convinced me from beginning to end. The stylistic range is enormous, but the resulting contrasts of the different pieces – evidently chosen with much care - actually reinforce one another.”

“Two world-class artists who trust one another completely, and this enables them to use their free quality of playing as a source of spiritual music making.”



Music Web International, Dominy Clements


Read the full review (in English) here

 

“The combination of violin and viola is a surprisingly colourful one, and though there is of course no true bass in the sound it makes an appealing impression. One soon forgets any such lack, and the music and musicianship is communicated with non-fatiguing clarity.”

About Toch’s Divertimento: “…the striking energy of its outer movements and the soulful character of its central Adagio captured superbly in this recording.”

“As a well-considered programme, and a recording and set of performances of the utmost refinement I can only compliment all concerned.”

Online performances

27 January 2021
Dear friends,
Amidst a very strange time (in the Netherlands we're experiencing not only a pandemic, but also a lockdown complete with curfew and riots), I’m very pleased to share two online performances with you, from the comfort and safety of your own home.

This coming Saturday January 30 at 20:00 CET (14:00 EST, 13:00 CST) I will be joining Libero Strijkorkest for the eight seasons of Vivaldi and Piazzolla. Four soloists from within the group will be playing the Vivaldi, and I will play all four Piazzolla pieces. We will also be recording these works on CD in May 2021!

Click here to view the live stream and here to donate to the project.

In December 2020 I joined the Netherlands Philharmonic Orchestra as guest concertmaster for a wonderful project with the Dutch National Opera in Rossini’s Petite Messe Solennelle. The result can be seen via this link for free until April 24.

Enjoy!

Farewell to 2020

13 December 2020

Dear friends,

I think we are all looking forward to ringing in the new year of 2021 in a few weeks, as this year has been disastrous in so many ways.

I feel extremely fortunate that I and my immediate family are in good health and that I am still able to make music and teach in person during this pandemic. In the past months I have performed as guest concertmaster with the Antwerp Symphony Orchestra, Phion and the Netherlands Philharmonic Orchestra (with whom I am currently recording a production of Rossini's Petite Messe Solennelle, in collaboration with the Dutch National Opera, which is will be available for online viewing). I also filled in as first violin with the wonderful Ragazze Quartet, which was great fun! And of course my students provide me with constant inspiration, keeping me sharp and giving me new perspectives every day.

Perhaps the achievement I am most proud of in 2020 is the recent release of Reflections, a CD featuring duos for violin and viola with Roeland Jagers! You can read more about the project and order the CD here.

I wish you all a Happy and especially Healthy holiday season!


New CD in the making!

01 July 2020

Dear friends,

This forced quarantine period has led to some inspiring new projects! Violist Roeland Jagers and I have decided to record a CD filled with our favorite repertoire for violin and viola, works which we have been playing together for over a decade. The project is called 'Senza Basso' and you can read more about it, watch the film and donate here!

Thanks in advance for your support, and we can't wait to share the finished product with you.

Cancellations due to Coronavirus

13 March 2020

Hi everyone,

It's been awhile since I've posted here and I find myself suddenly with lots of free time due to all the cancellations because of the Coronavirus which has hit the Netherlands. So far all events involving 100+ people have been called off through March 31.

In the coming weeks I plan to spend time with my family and enjoy having lots for practicing and preparing my next projects: hopefully the remaining performances of Smetana's The Bartered Bride with the Reisopera, the Beethoven sonata cycle with Jeannette Koekkoek at Indiana University, and much more.

Stay healthy and I wish you lots of inspiration in this scary time!

Critical acclaim for Point Counter Point

16 November 2016


My new CD Point Counter Point has been out for about 5 weeks and has already received a few great reviews, and a nomination for the Bach CD Prize 2016 from the Dutch radio station Concertzender! Below are two reviews translated from Dutch to English for your enjoyment.

From Opus Klassiek, Aart van de Wal (this is a loose, partial translation, because the original is even longer than this):

http://www.opusklassiek.nl/cd-recensies/cd-aw/kapustin01.htm

"It's been a long time since record companies have had large amounts of money at their disposal to attract promising artists. Nowadays it's often the other way around: the artist must come up with his/her own financial plan to be able to make a CD at all. Classical musicians have learned how to make do with the limited resources available, a process that has already been going on for years, although I'm surprised with how many new CDs are still being produced; this includes lots of repertoire which is continuously being recycled. For me it is increasingly difficult to keep an overview, let alone for the average music-lover. We see many new releases which are never talked about, not even noticed. Even the gems have the risk of being lost in the jungle.

Sarah Kapustin is one of these musicians who, as talented as she is, was forced to use an ever more common (and usually effective) medium to gather the funds needed for her new CD: crowdfunding. She set out to find appropriate funding, in this case a mix of grants and sponsoring, which related not only to the CD itself but also the tour associated with it.

Tour

One of Sarah's goals is to make classical music more accessible for people of all ages/backgrounds; a wish that she shares with many of her colleagues. Therefore she developed a unique lecture-recital format wherein she leads her public through the landscape of the music. She explains how each piece is put together structurally, melodically and harmonically. In this way a 'normal' concert can be transformed into an informed and active listening experience. One example of this is the video on her YouTube channel entitled 'Sarah Kapustin presents Bach and Bartok solo sonatas'.

The less-trodden path

I see this as a fantastic initiative by a formidable artist who sees no mountain high enough to prevent her from sharing her love of the violin and this repertoire, and for reaching a broader international public than she could on the concert stage through the means of a CD. The fact that there seemed to be no other way of attaining this goal than resorting to crowdfunding may come as a surprise, because Sarah Kapustin is anything but an unknown figure. She was the first violinist of the Rubens Quartet, is concertmaster of Sinfonia Rotterdam and violin professor at ArtEZ Conservatory in Zwolle. She is also active as a chamber musician and soloist. It may also come as a surprise that Sarah's chosen repertoire for the CD was not the 'easily accessible' program that 'sells easily'. 

Point Counter Point

The CD is out. Point Counter Point, named after the synonymous novel by Aldous Huxley. In her own words: 'The official definition [of counterpoint] is the relation between voices which are interdependent harmonically yet independent in rhythm and contour'. Counterpoint is a difficult feat to realize on the violin, which is by nature a melodic instrument. Based on this, I find the title to be a very appropriate choice, because in the book's main characters we can certainly recognize this polyphony.

It is brave to make a CD with such an unusual combination of pieces: Bartok's solo sonata, the brand new work 'Sirens' by David Fulmer (written especially for her), and Bach's C Major Sonata BWV 1005, which has grown gradually to become a true 'evergreen' among great violinists. Both sonatas fit Sarah, and the CD itself, like a glove, because in both the technical possibilities of violin playing are pushed by unsurpassed musical challenges to the furthest boundaries. Over time they have also grown to be two of Sarah's favorite pieces to play. Although Bartok's sonata is deeply rooted in a unique idiom of solo violin writing, the relationship between the two pieces is unmistakable, certainly in the interpretation by Sarah Kapustin.

In this context David Fulmer's 'Sirens' seems to be a 'filler' piece, but it isn't. David and Sarah are friends and former classmates, and naturally he was thrilled to write a new piece for a violinist who is so interested in contemporary music. The result is the demanding 'Sirens', which functions on this CD as the modern middleman.

Lesson in rhetoric 

Sarah Kapustin is a great violinist. The program which she chose for this CD is in itself a proof of that. Who would have expected otherwise? It rains accolades, the exclamation points are endless, and this is mainly due to perhaps her greatest strength: her power of storytelling. How deep can you go as a musician to reach the stage where you are experiencing every note to the fullest? Sarah shows us: very deep. For the listener it begins with flawless articulation and impeccable intonation. That is the essential basis, which leaves us open to experience the expressivity of the music. Then come the real exclamation points, where such an impressive story is told so convincingly that the listener is mesmerized. That is what happens here, in a grandiose lesson in musical rhetoric. Perhaps it helps that Sarah plays on a Rogeri violin from Brescia made at the end of the 17th century? In my opinion, she can do anything, regardless of the instrument. Her choice to work with the sound engineer Daan van Aalst was yet another masterful stroke. Because that can make all the  difference. Daan created a true sound paradise for Sarah. I salute them both deeply for the end result.

From journalist Hans Visser (published in several Dutch newspapers):

Make sure the house is quiet and empty your head. Then listen to the rich world of melodies present on Sarah Kapustin's first solo CD. The American [former] first violinist of the Rubens Quartet surprises us with the 'refined combination of flavors in gourmet cuisine' in music. Kapustin studied Bartok's solo sonata (1944) with Robert Mann, one of the first authorities on the piece. She opens her CD with this work in its technically complex original version. But don't be alarmed by 'technically complex', because throughout the intricate polyphonic writing, she makes the violin sing intensely. Bach's third solo sonata was the inspiration for Bartok to write his own solo sonata, and Sarah also makes this piece burst to life. Placed in between these two works is the brand new 'Sirens' by David Fulmer, which fits perfectly in this context. Sarah also presents all three of these works in a special lecture-recital format.


2016/17 season!

18 September 2016

Dear friends and fans,

I hope that you have all enjoyed a wonderful summer vacation! I had a very inspiring festival season; here are some highlights:

- performances at the Indiana University Summer Music Festival with wonderful artists like Kerson LeongJeannette Koekkoek, Edward Auer and Cory Smythe

- serving as faculty member for the Indiana University Summer String Academy, which included coaching a group of eight young gifted string players on Mendelssohn's miraculous Octet

- performances at the Festival de Musique de Chambre du Larzac in the lovely Aveyron region of France

And now it is already mid September and time to turn the page to the next chapter, being the 2016/17 season! 

I'm most excited about the realization of my Point Counter Point project; the CD is coming out already in early October and you can pre-order it here! I will also be performing and presenting this program throughout the entire season; check my schedule page for more details.

And while you're at it, on my schedule page you'll see that I have lots of interesting projects coming up as concertmaster of Sinfonia Rotterdam, guest concertmaster of the Orchestra National de Lille and the Noord Nederlands Orkest, plus chamber music next weekend with the wonderful Nino Gvetadze and others....and much much more. 

I hope to see you at one of my concerts this season!