GUEST ARTIST

JOSHUA BELL

In 1998, Bell partnered with composer John Corigliano and recorded the soundtrack for the film The Red Violin, which elevated Bell to a household name and garnered Corigliano an Academy Award. Since then, Bell has appeared on several other film soundtracks, including Ladies in Lavender (2004) and Defiance (2008). In 2018-19, Bell commemorated the 20th anniversary of The Red Violin (1998), bringing the film with live orchestra to various festivals and the New York Philharmonic.

Bell has also appeared three times as a guest star on The Tonight Show with Johnny Carson and made numerous appearances on the Amazon series Mozart in the Jungle. Bell is featured on a total of six Live From Lincoln Center specials, as well as a PBS Great Performances episode, “Joshua Bell: West Side Story in Central Park.”

In August 2021, Bell announced his new partnership with Trala, the tech-powered violin learning app, which Bell will work with to develop a unique music education curriculum. Bell maintains active involvement with Education Through Music and Turnaround Arts, which provide instruments and arts education to children who may not otherwise experience classical music firsthand. In 2014, Bell mentored and performed alongside National YoungArts Foundation string musicians in an HBO Family Documentary special, “Joshua Bell: A YoungArts Masterclass.” Bell received the 2019 Glashütte Original MusicFestivalAward, presented in conjunction with the Dresden Music Festival, for his commitment to arts education.

Bell’s interest in technology led him to partner with Embertone, the leading virtual instrument sampling company, on the Joshua Bell Virtual Violin, a sampler created for producers, engineers, artists, and composers. Bell also collaborated with Sony on the Joshua Bell VR experience. Featuring Bell performing with pianist Sam Haywood in full 360-degrees VR, the software is available on Sony PlayStation 4 VR.

As an exclusive Sony Classical artist, Bell has recorded more than 40 albums, garnering GRAMMY®, Mercury® , Gramophone and OPUS KLASSIK awards. Bell’s 2019 Amazon Originals new Chopin Nocturne arrangement was the first classical release of its kind on Amazon Music. Bell’s 2016 release, For the Love of Brahms, features recordings with the Academy, Steven Isserlis, and Jeremy Denk. Bell’s 2013 album with the Academy of St Martin in the Fields, featuring Bell directing Beethoven’s Fourth and Seventh symphonies, debuted at No. 1 on the Billboard charts.

In 2007, a Pulitzer Prize-winning Washington Post story, centered on Bell performing incognito in a Washington, D.C. metro station, sparked an ongoing conversation regarding artistic reception and context. The feature inspired Kathy Stinson’s 2013 children’s book, The Man With The Violin, and a newly-commissioned animated film, with music by Academy Award-winning composer Anne Dudley. Stinson’s subsequent 2017 book, Dance With The Violin, illustrated by Dušan Petričić, offers a glimpse into one of Bell’s competition experiences at age 12. Bell debuted The Man With The Violin festival at the Kennedy Center in 2017, and, in March 2019, presented a Man With The Violin family concert with the Seattle Symphony.

Born in Bloomington, Indiana, Bell began the violin at age four, and at age twelve, began studies with his mentor, Josef Gingold. At age 14, Bell debuted with Riccardo Muti and the Philadelphia Orchestra, and made his Carnegie Hall debut at age 17 with the St. Louis Symphony. At age 18, Bell signed with his first label, London Decca, and received the Avery Fisher Career Grant. In the years following, Bell has been named 2010 “Instrumentalist of the Year” by Musical America, a 2007 “Young Global Leader” by the World Economic Forum, nominated for six GRAMMY® awards, and received the 2007 Avery Fisher Prize. He has also received the 2003 Indiana Governor’s Arts Award and a Distinguished Alumni Service Award in 1991 from the Jacobs School of Music. In 2000, he was named an “Indiana Living Legend.”

Bell has performed for three American presidents and the justices of the Supreme Court of the United States. He participated in former president Barack Obama’s Committee on the Arts and Humanities’ first cultural mission to Cuba, joining Cuban and American musicians on a 2017 Live from Lincoln Center Emmy nominated PBS special, Joshua Bell: Seasons of Cuba, celebrating renewed cultural diplomacy between Cuba and the United States.

Bell performs on the 1713 Huberman Stradivarius violin.

Violin Concerto in E minor, Op. 64

Felix Mendelssohn

First Performance: 2/9/1947

Violin: Zino Francescatti

Last Performance: 3/25/2017

Violin: Chloe Hanslip

Born: February 3, 1809, in Hamburg, Germany

Died: November 4, 1847, in Leipzig, Germany

Work composed: July to September 16, 1844, with alterations continuing for several more months

Work premiered: March 13, 1845, at the Leipzig Gewandhaus with Ferdinand David (its dedicatee) as soloist and Niels Gade conducting

Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings, in addition to the solo violin

As a youngster, Felix Mendelssohn benefited from an exemplary education and myriad other advantages reserved for the privileged. He mastered Classical and modern languages, wrote poetry, and polished his considerable skills as a landscape painter and an artist in pen-and-ink. His musical education included private lessons in piano and violin, as well as composition lessons from Carl Friedrich Zelter, whose other students included Otto Nicolai, Carl Loewe, and Giacomo Meyerbeer. Zelter spoke highly of Mendelssohn’s ability with the fiddle. In an 1823 letter to Goethe (whom Zelter served as musical adviser), he reported: “My Felix has entered upon his fifteenth year. He grows under my very eyes. His wonderful pianoforte playing I may consider as quite exceptional. He might also become a great violin player.”

Many of the composer’s early works were unveiled at Sunday musicales at his family’s mansion at 3 Leipziger Strasse in Berlin: among them were a number of his 12 string symphonies, some light operas, and a quantity of piano pieces and chamber music. Concertos were played, too, including the five (!) that Mendelssohn produced between 1822 and 1824: one for piano, one for violin (in D minor, written expressly for his violin teacher, Eduard Rietz), two for two pianos, and one for violin and piano. These works exhibit abundant inspiration, limitless enthusiasm, and genuinely remarkable technique; what they do not yet display is the stringent self-criticism and editing to which Mendelssohn would later subject his work.

Mendelssohn first met the violinist Ferdinand David, who would premiere the concerto heard here, in 1825. The two became fast friends. David (1810-73), just a year younger than Mendelssohn, was also the son of a wealthy businessman, was a musical prodigy, and had a precocious piano-playing sister, just as Mendelssohn did. He and Mendelssohn were frequent partners in chamber music and, in 1835, when Mendelssohn settled in Leipzig to become conductor of the Gewandhaus Orchestra, he appointed David concertmaster of that ensemble—a position David retained for the rest of his life. When Mendelssohn founded the Leipzig Conservatory, in 1843, David was one of the first musicians appointed to the faculty. Greatly respected as a teacher, he counted such eminent violinists as Joseph Joachim and August Wilhelmj among his pupils.

In March 1845, David played the premiere of Mendelssohn’s enduringly popular E-minor Violin Concerto, which the composer had contemplated writing as early as 1838. “I’d like to do a violin concerto for you for next winter,” he wrote to David on July 30 of that year. “One in E minor is running through my head, and the opening of it will not leave me in peace.” Curiously, ensuing sketches reveal that it was a piano concerto, rather than a violin concerto, that started taking form, one that matched the eventual violin concerto in both key and structure. By the time Mendelssohn focused definitively on the composition in 1844 it had evolved with certainty into a violin concerto. As he composed it, he consulted closely with his soloist, mostly about technical issues but in some cases concerning more general matters of structure and balance—and he took David’s suggestions to heart. They remained close friends until Mendelssohn’s passing in 1847, when David was among the small group attending Mendelssohn’s deathbed and served as a pall-bearer at the funeral. He lived another 26 years, and his final public appearance (in March 1873) was playing a chamber music program that included the Andante and Scherzo from Mendelssohn’s posthumously published Op. 81 collection of standalone quartet movements.