En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Quatre Impromptus, D.899

Pour sa première au festival toulousain, le jeune Américain a fait passer son clavier par toutes les émotions, par toutes les couleurs, par tous les extrêmes, sans jamais trembler ni faillir.

L'ancien impétrant du Concours Chopin de Varsovie a donné un récital Beethoven-Schubert-Chopin captivant et frustrant, se montrant capable de franches réussites comme de fautes inexplicables.

Lukas Geniušas a présenté une version inédite de la Première Sonate du compositeur, après des recherches au Musée national de musique de Moscou. Un récital légendaire, y compris dans les Impromptus D.899 de Schubert.

Intime et sévère dans Schubert, élégant et chantant dans Albéniz, noble et abrupt dans Liszt, Sunwook Kim a livré un intéressant récital avenue Montaigne.

Eric Lu's Schubert is always special: full of the existential elements that make this composer so rewarding. Other pieces by Bach, Handel, Mendelssohn and Prokofiev make up a varied recital.

Alexandre Tharaud interpretó con talento y genialidad Mirroirs de Ravel mientras que las obras de Debussy y Schubert pecaron de meticulosidad y cuidado.

Delicacy and effortlessly flowing melodies in Mendelssohn and Schubert, with dazzling extremes and showmanship in Liszt at the Brighton Festival.

Mitsuko Uchida feels closest to the music of Schubert. She makes the strongest of cases for the eight Impromptus, long regarded almost as trifles, which in their tragic weight and sense of loneliness embody the age of Coronavirus.

Lars Vogt takes to the stage of Hall One at Sage Gateshead for some impromptu keyboard practice.

Collins gives a scintillating performance of Bach and a highly expressive account of Schubert, Schumann and Chopin.

An overwhelming B minor Sonata opens to a celebration of the moment.

In a wonderful piano recital, Mitsuko Uchida presented Schubert’s Four Impromptus and Beethoven’s Diabelli Variations.

Etude-Tableau Nr. 9 von Rachmaninov ist ein trotz seiner Kürze nahezu monströses Stück mit technisch gewaltigen Anforderungen – hinreißend gemeistert: Gratulation dem Künstler!

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

The fact that Schubert’s four D.899 piano pieces are called “Impromptus” can seem incongruous: after all, they are formally structured pieces which are carefully scored with great subtlety, and performing them has little to do with spur-of-the-moment improvisation.

Imagine, for a moment, that you're an 18th century German or French baron deciding what you're going to do with your evening. You might do worse, perhaps, than to invite a couple of dozen friends to your well-appointed sitting room, and bring in one of the great musicians of the day to talk to you about his favourite music and play it to you.