Laloum n'oublie jamais que Chopin est un génie de la main gauche, contrairement à ce qu'en a dit Artur Schnabel pour le moquer. Retour sur un remarquable récital au Théâtre des Champs-Elysées.
No resulta exagerado calificar al tecladista ruso como veterano, siempre en aras de la justa aplicación de un término que, en su polisemia, remite a varios de los atributos que Bronfman viene esculpiendo con una dedicación no menor que su éxito desde hace más de 40 años.
Bei Janáček lebte András Schiff richtiggehend auf! Bei allem Wohlklang war die Stimmung des Satzes „Die Ahnung“ ausgezeichnet eingefangen, eindrücklich in der dynamischen Gestaltung und im Wogen des musikalischen Flusses.
Daniel Barenboim’s concerts in London, and his piano recitals in particular, have become perpetual highlights of the classical music calendar. Thus the chance to hear the great maestro play sonatas by Schubert was an opportunity not to be missed.
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.
Piotr Andersweski dazzles a Queen's Hall audience with a display of technical mastery and emotional commitment, before strolling from the stage with the ease of someone who has just read out a short housekeeping announcement.
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.
Daniel Barenboim was onto something earlier this Proms season when he spoke of the “communion” between the Royal Albert Hall audience and the performers: there is a sense of deep, serious, joyous concentration at the Proms that more than compensates for the disappointing acoustic.
A key performance unlocks every note of familiar pieces so they can be enjoyed as if for the first time. Tiberghien began by paying homage to the “amazing” acoustics of Koerner Hall, then proved it by opening the minuet of Schubert’s Six moments musicaux softly as a breeze coloured lightly with birdsong.
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.
