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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. 

Au Festival Piano Pic, Adam Laloum donnait un récital à l'abbaye cistercienne de l'Escaladieu. Beethoven, Schumann et Schubert étaient au programme de ce concert consacré au romantisme allemand.

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. 

« Aurore » ou « Waldstein » ? Retour sur le récital d'Adam Laloum au Festival de la Roque-d'Anthéron.

A programme of late Haydn, Beethoven and Schubert explores music at the limits.

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.

Demostración de cualidades de Luganski, entre el virtuosístico de Chaikovski y el lirismo con letras capitulares de Franck y Grieg

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.

Sir András Schiff delights Vancouver in the nuances of late sonatas by Haydn, Mozart, Beethoven and Schubert. 

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. 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.