Polina Osetinskaya | BAROQUE music in the art house cinema

«Her tone is deep and rich, her articulation faultless and her feeling for the pulse of the music she is playing is as natural as breathing – that’s something that cannot be taught.» - KLASSISKMUSIKK

Polina Osetinskaya was born in Moscow and began performing at the age of five. She was soon acclaimed as a Wunderkind. She gave her first concert at the age of six at the Vilnius Conservatory in Lithuania and at the age of seven entered the Central School of Music of the Moscow Conservatory.

Polina Osetinskaya’s onstage partners have included Maxim Vengerov, Julian Milkis, Anton Batagov and Alexander Knyazev and she has worked with conductors such as Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Tugan Sokhiev, Laurent Petitgirard, Yan Pascal Tortelier, Teodor Currentzis.

She appears at the world’s most important concert halls, including the Barbican in London, the St Petersburg Philharmonic, the Moscow Conservatory and the Musikverein in Vienna, as well as in Rome, Tokyo, Milan, Brussels and throughout the USA, as well as at many festivals in Europe, the USA, Russia and Mexico.

Polina Osetinskaya has performed with ensembles such as the Tokyo Philharmonic Orchestra, the Orchestra of Weimar National Opera, the St Petersburg Academic Symphony Orchestra, the Brno Philharmonic, the European Sinfonietta.

After her debut at the Salzburg Festival in 2019, she performed in triumph at Carnegie Hall, where she now performs every season.

In recital, Polina Osetinskaya is known for her unusual programmers, which include works by contemporary composers juxtaposed with traditional, classical works.

Johann Sebastian Bach (1685 —1759)

1.Italienisches Konzert in F-Dur, BWV 971 
I. Allegro
II. Andante
III. Presto
(“The Talented Mr. Ripley". 1999, Anthony Minghella)

2.  Little Organ Book (Orgelbüchlein), BWV 599-644 (1712 —1717)
Chorale Prelude in  f-moll “Ich ruf zu dir, Herr Jesu Christ" BWV 639. 
Weimar, 1713 
(“Solaris". 1972, Andrey Tarkovsky) 

3. Toccata № 5 in e-moll, BWV 914 [1705—1714]
(“Fingers”, 1978; James Toback)

4. Flute Sonata № 2 in Es-dur BWV 1031
II. Siciliano
(“Breaking the Waves”. 1966,  Lars von Trier)

5. Passacaglia and Fugue in c-moll, BWV 582  [1706—1713]
(“The Godfather”. 1972, Francis Ford Coppola)

Intermission

George Frideric Handel  (1685 —1759)
1.Suite № 4 d-moll. II vol, HWV 437  [1703—1706] 
III. Sarabande
(“Barry Lyndon”. 1975, Stanley Kubrick)

2. Chaconne  № 2 G-dur. II vol. HWV 435  (1705)
( “Autumn Sonata ”. 1978,  Ingmar Bergman)
Henry Purcell (1659 —1695)

3. Ground in c-moll, ZD 221 
(“The Draughtsman's Contract”. 1982,  Peter Greenaway)
Jean-Philippe Rameau (1683 —1764)

4. Pieces. Clavecin Suite № 2 e-moll RCT II (1724) 

5. “Le rappel des oiseaux”    (4 Days in France, 2016, Jérôme Reybaud)

9. “Tambourin” (The Handmaiden. 2016, Chan-wook Park)

10. “La villageoise” 

5. Pieces. Clavecin Suite № 3 d-moll RCT III (1724) 

1. “Les tendres plaintes”

2.  “Les Niais de Sologne”

3. “Les Soupirs”

4. “La Joyeuse”

6. “L'Entretien des Muses”

8. “Les Cyclopes”

  (“Casanova”. 2015, Jean-Pierre Jeunet.)

 
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