Kim Kashkashian

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Kim Kashkashian
viola

Violist Kim Kashkashian has established herself as one of the most accomplished artists of her generation. Inspiring worldwide critical acclaim, she has been hailed by the San Francisco Chronicle as "an artist who combines a probing, restless musical intellect with enormous beauty of tone." The New York Times has joined in these accolades, praising her "rich, mellow timbre and impressive artistry."

In recent seasons, Ms. Kashkashian has appeared as a soloist with major orchestras in New York, Berlin, Vienna, London, Milan, Munich, and Tokyo, including performances with conductors Ricardo Chailly, Christoph Eschenbach, and Riccardo Muti. She has performed recitals at the Metropolitan Museum and the 92nd Street "Y" in New York City, in Boston, Washington DC, Philadelphia, Pittsburgh, San Francisco, Cleveland, and Los Angeles.

In her quest for new directions and forms, she has developed working relationships with such composers as Gubaidulina, Penderecki, Kancheli, Kurtág, Mansurian, Pärt, Berio, and Eötvös. Current chamber music partnerships include duos with pianist Robert Levin and percussionist Robyn Schulkowsky.

Ms. Kashkashian has performed with the Tokyo, Guarneri, and Galimir Quartets and has toured with a unique quartet that included violinists Gidon Kremer and Daniel Phillips and cellist Yo-Yo Ma.

Ms. Kashkashian's discography on the ECM label encompasses her wide range of interests, from the concertos of Bartok, Kurtág, Eötvös, Kancheli, Berio, Penderecki, and Mansurian to the complete sonatas of Hindemith, Brahms, Shostakovich, and Bach for viola da gamba, as well as new works for viola and percussion and transcriptions of ancient Armenian songs.

Her extensive teaching activities have included professorships at the University of Indiana and in Freiburg and Berlin, Germany. In September 2000, she began teaching viola and chamber music at New England Conservatory in Boston.

In addition to May's world premiere with BMOP, highlights of the 2007-2008 season included recitals in Rome, Paris, Berlin, New York, and Washington, DC. Concerto appearances included Béla Bartók's Concerto for Viola with the Cleveland Orchestra and at the Salzburg Festival and the North American premiere of Betty Olivero's Viola Concerto.

Ms. Kashkashian was trained at the Peabody Conservatory, where she studied with Walter Trampler and Karen Tuttle.

more

Performances

Strings Attached
Jordan Hall at New England Conservatory | March 6, 2010
Armenia Resounding: A tribute to composer Alan Hovhaness
Jordan Hall at New England Conservatory | May 23, 2008
Tod Machover: Hyperstring Trilogy
Tsai Performance Center at Boston University | May 6, 2001

News and Press

[Concert Review] What's New
The timely highlight of Gil Rose's latest BMOP (Boston Modern Orchestra Project) concert, "Strings Attached," was a new/old piece (2004, revised 2009) for two string orchestras by Scott Wheeler now called Crazy Weather — the new title taken from a John Ashbery poem that begins, "It's this crazy weather we've been having." Thunderous snaps of antiphonal bass strings set off pizzicato raindrops that turn into Allegro sheets of musical rain. Of course, it's an emotional landscape, as the exquisite Adagio makes even clearer.
The Boston Phoenix Full review
[Concert Review] The Hidden Life of Strings
The string section is a staple of any orchestra: The largest of the instrumental sections, the strings are the most prominently displayed. Strings are usually the most constant factor in any orchestral score, while woodwinds, brass, percussion are the variables. Perhaps it is ironic that the fate of the string section is to play some of the least sonically interesting parts. Strings are often consigned to betraying their vast range of timbre and tone color to complement and support more strident colors of other sections of the orchestra.
The Tech Full review
[Concert Review] String Theory
I was feeling a little, well, strung out this weekend (having seen both Itzhak Perlman and the Artemis String Quartet), so perhaps I simply wasn't in the mood for "Strings Attached," the latest concert by the Boston Modern Orchestra Project (last Saturday at Jordan Hall). Or then again, maybe the concert was simply as mixed a bag as it seemed. At any rate, it proved a rather rambling evening, with perhaps no very deep lows, but only one real high.
The Hub Review Full review
[Concert Review] For Modern Orchestra, strings tie it all together
It was probably the touchy economy, in part, that inspired Gil Rose and the Boston Modern Orchestra Project to build concerts this season around subsections of the orchestra rather than the full group; on Saturday, it was works for strings. And the orchestra's most homogeneous group, its lyricism and opulence self-reinforcing, made for pretty classy thrift.
The Boston Globe Full review
[Concert Review] Strung Out: BMOP's "Strings Attached"
As the BMOP nears the close of its season, Boston lowbrow was treated to–in keeping with the "instrumental" theme of their programming this year–a concert of string music with the paronomastic title "Strings Attached." Saturday night started with Stained Glass (2009), a brand new short and accessible piece by NEC grad student Nathan Ball–a smooth start to the night with its passages of shuddering violins and folky vibrato.
Boston lowbrow Full review