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May 4, 2009

Baltimore Symphony principal cellist Ilya Finkelshteyn heading to Cincinnati Symphony

The Cincinnati Symphony has named Ilya Finkelshteyn as its next principal cellist, starting with the 2009-2010 season.

Since 2002, he has been principal cellist of the Baltimore Symphony, appointed by then-music director Yuri Temirkanov. Finkelshteyn had previously been a member of the St. Louis Symphony Orchestra.

In a statement released by the Cincinnati Symphony, Finkelshteyn said he is "very excited to be joining" the orchestra. “It has a distinguished list of principal cellists and it is an honor to uphold this illustrious tradition," he said. Referring to a guest appearance with that ensemble in March, he added: "From the first moments of playing with Maestro Paavo Järvi and the members of CSO, it was apparent to me that Cincinnati is a place where artistry flourishes. I am looking forward to a long and fruitful collaboration." 

That March program included Brahms' Piano Concerto No. 2. "The heart of this concerto is its songful slow movement, with its beautiful cello solo," wrote Cincinnati Enquirer critic Janelle Gelfand. "Guest cellist Ilya Finkelshteyn, principal cello of the Baltimore Symphony, unveiled a radiant tone and the intimate collaboration with pianist and orchestra glowed."

The cellist's technical skill and superb musicality have made him one of the BSO's finest assets, and he has also been a frequent performer of chamber music in the Baltimore area. He has performed as soloist with several orchestras, including the BSO.

Finkelshteyn will be a tough act to follow.

BALTIMORE SUN FILE PHOTO

Posted by Tim Smith at 11:17 AM | | Comments (2)
        

Comments

I have visited Cincinnati twice in the past 3 years to hear their orchestra play, and I can guarantee that Ilya is joining a _very_ distinguished ensemble. The CinciSO is one of this country's orchestral gems, with a very full sound across the sections (the strings are comparable to Philly or Cleveland, depending on the occasion!). Their music director, Paavo, is a rising titan (despite his recent OVI incident) in the conducting world: his style is _enormously_ clear and expressive without the least hint of silly showmanship. (His father, Neeme, is also one of my favourite conductors; I believe Paavo surpasses him.)

I am sad to see Ilya leave, because he is an outstanding cellist (if Temirkanov may cancel a lot, he can almost be forgiven by virtue alone of appointing Carney and Finkelshteyn to the BSO), but hopefully I'll see him again next January, when the Cincinnatians do Bruckner's 8th. ;^)

Thanks for the comments.TIM

Tim, is the CintiSO really a step up for Finkelsteyn? Great things are happening for the BSO with the enormous energy and creativity that Alsop is bring to Baltimore.
Finkelsteyn is a first rate cellist, to be sure. I'll always remember how he collapsed onstage during Temirkanov's farewell concert - DSCH's 10th - slowly sliding down to the floor soundlessly. It took awhile for the orchestra and the audience to realize what had happened. I'll also remember him for a pan by a WP reviewer whose comments were limited to how displeasing (to her) he looked and the fact that he played from the score. No mention whatsoever was made of his playing or of anything audible.
Tim, no mention of the latest BSO concert w/Venzago, Friere and that behemoth of a symphony, Bruckner's 3rd?

Thanks for the comments. I agree it's not a step up for Ilya, who tells me he wanted a change. And he officially has a leave of absence from the BSO for one year, so he could technically come back if he changed his mind in Ohio. The BSO Bruckner/Beethoven review was just posted. It was a wild weekend, and I'm still catching up.TIM

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About Tim Smith
I was born in Washington, D.C., and grew up there. Initial thoughts of becoming a cocktail pianist faded when I realized I hated taking requests. I decided to study music history instead, and got a B. A. in that field from Eisenhower College in Seneca Falls, New York, and an M.A. from Occidental College in Los Angeles. After free-lance gigs for the Washington Star and the Washington Post, I worked as classical music critic for the South Florida Sun-Sentinel during the 1980s and '90s, a period when I also ventured into radio, contributing to NPR and hosting a weekly show on a West Palm Beach station. Since April 2000, I've been classical music critic at the Baltimore Sun. Over the years, I've written occasional articles for the New York Times, BBC Music Magazine and other publications, and I'm a longtime, regular contributor to Opera News and the U.K. magazine Opera. You may still be able to find on the remainder racks my one and only book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002).
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