En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sonate pour piano no. 21 en si bémol majeur, D.960

Virtuose accompli mais manquant de respiration dans Haydn et Schumann en première partie, le pianiste coréen a livré une ultime sonate de Schubert bouleversante après l'entracte.

De Brahms à Schubert en passant par Beethoven, le pianiste de 85 ans a proposé un voyage d'une éloquence folle, sans jamais hausser le ton ou forcer l'auditeur à le suivre.

Retour sur les derniers récitals de l'édition 2024 du festival, qui symbolisaient l'esprit d'une manifestation restée fidèle à ses principes.

Du fameux trio de Beethoven aux lieder et aux sonates de Schubert, le premier week-end du Festival de la Grange de Meslay a proposé un cheminement admirable dans un répertoire en clair-obscur.

Le pianiste turc a proposé un récital contrasté, passionnant dans Haendel et Haydn, nettement moins convaincant dans l'ultime sonate de Schubert.

Nicholas Angelich est souffrant ? Qu'à cela ne tienne, les Flâneries de Reims ont eu la bonne idée de faire venir un autre grand pianiste, Adam Laloum, pour un superbe récital Brahms-Schubert. 

Les trois dernières sonates de Schubert, merveilles du répertoire pianistique écrites par un compositeur à la cime de son inspiration. Retour sur le récital donné par Adam Laloum au Théâtre des Champs-Élysées. 

Le pianiste et compositeur a livré un récital singulier ; Bach, Ravel, Schubert et Moussorgski se sont succédés avec plus ou moins de bonheur sous les doigts de l'artiste souriant.

Haydn, Beethoven et Schubert sous les doigts de Peter Rösel, pour un récital austère et indescriptiblement beau.

C'est un elfe, ou plutôt une éphémère, cet insecte gracieux tout de gris argenté vêtu, qui entre en scène. Mitsuko Uchida en la grâce légère, la vivacité.

Retour sur le dantesque récital schubertien d'Elisabeth Leonskaja, au Théâtre des Champs-Élysées, ponctué d'œuvres de la Seconde école de Vienne.

En interprétant les Davidsbündlertänze op.8 de Robert Schumann et l'ultime Sonate en si bémol majeur n°21 D.960 de Franz Schubert, Adam Laloum dévoile une musicalité remarquable, subtile poésie et fruit d'une sensibilité hors du commun. 

The British pianist reveals new ideas in the most familiar of music in this recital program, which concludes a multi-year return to Schubert's keyboard literature.

Am Eröffnungswochenende des Gstaad Menuhin Festivals stellte sich der Schweizer Pianist, diesjähriger Artist in Residence, mit zwei Giganten der Klavierliteratur vor. Man darf gespannt sein auf die Fortsetzung.   

Ambiciosas obras de Ligeti y Schubert conformaron un programa en el que Noelia Rodiles desplegó musicalidad y maestría.

The semi-retired pianist offered a generous program of Schubert and Debussy that showcased her technical prowess and interpretive gifts.

In the Brahms Saal, Marc-André Hamelin juxtaposes three Russian composers with Schubert’s long misunderstood final piano sonata.

The French pianist pairs the last two sonatas in his Sommets Musicaux de Gstaad recital. 

Leonskaja evidenció una técnica del movimiento más que eficaz para vencer todas las dificultades técnicas; y mostró un amplísimo espectro rítmico y dinámico para individualizar cada variación sin perjudicar a la estructura unitaria de la obra.

Mitusko Uchida’s hypnotic performance of three Schubert piano sonatas made for an enthralling afternoon at Severance Hall.

In Schubert's B-Flat Sonata, Hamelin focused on the all-present ambiguities, on the muted shifts in coloring and harmony.

It ever there was a "recital of two halves", then this was it, with a leaden Sonata in B flat major countered by blazing Liszt at the Barbican. 

The soul of the composer seems very much alive in her touch, particularly in his most retrospective moments.

The “Festival Tour” and its three-venue concerts of the Davos Festival programme included almost as many visual and outdoor delights as it did musical treats. 

La actuación que reseñamos se condensa en algo muy sencillo, pero a la vez extremadamente complicado de enunciar mediante la crónica al uso: Schubert, el público y Volodos hicieron música. 

Sir András Schiff delivers deeply profound performances of the final piano sonatas of Haydn, Mozart, Beethoven, and Schubert.

Arcadi Volodos displays consummate artistry in Schubert's last piano sonata and two other keyboard pieces by Brahms.

A packed audience congregated in Wigmore Hall’s temple to pay homage at a very special concert in which Martha Argerich joined Stephen Kovacevich to mark his 75th birthday. 

Stephen Kovacevich war wohl nie ein typischer Tastenlöwe, vielmehr ein feinsinniger Musiker - und das ist er noch immer.

Un recorrido descarnado entre el Schönberg más evocador y el Schubert febril y doloroso de la Sonata en si bemol mayor

Schubert’s last three piano sonatas, published posthumously in 1839, were brought to new life with thrilling intensity and a sense of authority by one of Britain’s most self-effacing recitalists.

Pianistische Kammermusik vom Feinsten mit Spiel wie aus dem Lehrbuch bot Alexander Lonquich in der Münchner Allerheiligen-Hofkirche.

Arcadi Volodos is a big man, and when he sits down to the piano, he produces a big sound. The extraordinary richness of timbre was obvious from the first notes of Brahms' 6 Klavierstücke, Op.118.

Imogen Cooper's exquisite musicality and thoughtful programming made for a wonderful, pensive performance in Sydney's City Recital Hall.

András Schiff takes on, and astonishes with, the last sonatas of Haydn, Mozart, Beethoven and Schubert.

Both a grand and intimate programme from Imogen Cooper, centred around the music of Robert Schumann. 

Schubert cycles are in the air: earlier this month pianist James Lisney’s wide-ranging ‘Schubertreise’ series reached its journey’s end at London’s Purcell Room, and on Saturday evening Imogen Cooper concluded her own survey of Schubert’s piano sonatas with a performance of the last three sonatas to a packed, attentive and highly appreciative Wigmore Hall audience.

How radical can an exposition repeat be? Well, in the hands of Schubert, very radical indeed, it turns out. The sheer scale of the Molto moderato which opens his final piano sonata means that by the time the opening material returns a huge swathe of time has passed, so much so that each re-encountered phrase is seen in the light of all that happened in the mean time.

It is an extraordinary feat to take on Schubert’s Winterreise, Die Schöne Müllerin and Schwanengesang in three concerts over only five days, and performing them in Vienna’s Musikverein certainly does nothing to relieve the pressure.

Few venues do “faded grandeur” better than the Royal Conservatoire of Brussels. The auditorium of Belgium’s premier music college is a venerable grande dame of a concert hall – all off-white paint peeling from cracked walls and heavy red velvet curtains coated with dust – making it an elegant and alluring place in which to while away an evening, its imperfections lending a certain sepia-tinged spa

Paul Lewis’ current tour constitutes the final instalment of his Schubert cycle. As is the fashion, largely following Artur Schnabel and more recently Alfred Brendel, Lewis plays the last three sonatas as a trilogy, with the D.958 and D.959 played before the interval and the D.960 afterwards.

If your ears happen to frequent the frequencies of the BBC’s classical music radio station, it’s highly possible that you’ll have been swamped by piano music this monsoon season. Piano notes have poured down upon us, flooding the airwaves with this extraordinary instrument’s capacity to evoke everything from orchestras to ocarinas, from tempestuousness to tranquillity, from Moonlight to Raindrops.