On Monday, the Joven Orquesta de Canarias (Jocan) had the honor of ushering in the year 2024 for the Archipelago. Under the leadership of its artistic director, Maestro Víctor Pablo Pérez, Jocan performed the first of its trio of New Year’s concerts at the Auditorio de Tenerife in the capital city.
This event served as the prelude to the 40th International Music Festival of the Canary Islands (FIMC), which is set to deliver 60 concerts across the Islands from 10 January to 9 February. The musical journey continues today, Tuesday, at the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria, and the ensemble of 75 talented young musicians will grace the stage at the Palacio de Formación y Congresos de Fuerteventura in Puerto del Rosario tomorrow.
The Jocan’s current programme, which will be reprised today and tomorrow, includes Sergey Rakhmaninov’s Piano Concerto No. 2 Op. 18 in C minor, featuring the renowned Russian pianist Nikolai Luganski as a guest soloist. The ensemble will also perform Pyotr Ilyich Tchaikovsky’s Symphony No. 5 in E minor, Op. 64.
Nikolai Luganski, a pianist celebrated for his profound and versatile performances, especially of Rachmaninov, shone yesterday in one of the composer’s signature pieces. His interpretations of Prokofiev, Chopin, and Debussy have also earned him numerous accolades and awards.
The Piano Concerto No. 2 Op. 18 in C minor, composed in 1901, was a triumph at its premiere, effectively redeeming Rakhmaninov after the disappointing reception of his Symphony No. 1, which had led him into a deep depression. This piece has since become a staple in the repertoire of pianists and has been widely adopted by film and song composers due to its style and emotive content. Notably, the lush and exotic second theme of the finale was used by Frank Sinatra in “Full moon and empty arms” and by Eric Carmen in “All by myself.”
Tchaikovsky’s Symphony No. 5 in E minor, Op. 64 is one of the composer’s most celebrated works. Described by Tchaikovsky himself as “a complete renunciation in the face of fate,” early critics recognized the symphony’s origins in a profound spiritual experience, yet its dark undercurrents have not deterred its popularity. In fact, it stands as one of the Russian composer’s most famous and frequently performed works, alongside the Sixth (the Pathétique). This marks the first time the Jocan is performing both pieces.
