En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Seis bagatelas para piano, Op.126

Grigori Sokolov ofreció un recital mágico e introspectivo convierto la velada en una de las más relevantes del Festival Bal y Gay.

La lauréate du Concours Clara-Haskil 2023 a livré un grand moment de musique dans un programme particulièrement intelligent, qui associait Haendel, Satie et Liszt avant de mettre en miroir Beethoven et Schumann.

Seit 25 Jahren tritt Grigory Sokolov in Salzburg auf und hat inzwischen eine riesige Fangemeinde. Sein diesjähriges Programm mit Beethoven und Schubert offenbart erneut die Qualitäten dieses Ausnahmepianisten.

Lucie Horsch shows that her star is fully risen in Vivaldi and Telemann. Grigory Sokolov demonstrates why he has been in the top rank of pianists for many years.

Grigory Sokolov, master of nuance, performs a Concertgebouw recital, taking our writer back to his first encounter with him, back in 1994. 

The Polish pianist’s Gilmore recital traverses suites by Beethoven, Chopin, Szymanowski, Bartók and Bach, benefitting from thoughtful interpretation.

Après Elisabeth Leonskaja, c’était au tour de Dénes Várjon d’enchanter le cloître des Jacobins de compositions hongroises. Le Festival Piano aux Jacobins, dans sa 38ème édition, choisissait pour son deuxième concert le virtuose formé à la Franz Liszt Académie de Budapest.

Nikita Mndoyants proved his adeptness in shaping small musical forms and meaningfully connecting them.

Maurizio Pollini demonstrated why people still flock to hear him perform in sonatas by Beethoven and miniatures by Schoenberg.

Freshness and intensity were brought to Beethoven's later piano sonatas, including a convincing Hammerklavier, together with a welcome performance of his last work for solo piano.

A dark thread ran through Yevgeny Sudbin’s recital at London’s Queen Elizabeth Hall, from the sombre B minor sonata by Haydn to Scriabin’s infamous “Black Mass” sonata and Saint-Saens’ virtuosic Danse macabre.

In the first half of the 19th century, the piano was still very much a developing instrument, and the composers were often pushing its limits both mechanically and sonically. 

The story of Beethoven's Diabelli Variations is well known. The composer and publisher Anton Diabelli wanted to promote his new firm, and chose to do so by inviting fifty composers of varying fame to write a variation on his own waltz theme. Beethoven was, of course, the dominant figure in Vienna at the end of the 1810s, and his variation was to be the highlight.