Saturday, May 27, 2017
Adrian Brendel and Kit Armstrong: Konzerthaus Berlin Date: SUNDAY, MAY 07 2017, 11:00 AM Venue: Konzerthaus Berlin, Berlin – Kleiner Saal Address: Gendarmenmarkt, 10117 Berlin, Germany Program: Byrd, William Variations on ‘Walsingham’ for cello and piano (Kit Armstrong) Bach, Johann Sebastian Sonata No. 1 in G Major, BWV 1027 Schumann, Robert Fünf Stücke im Volkston, Op. 102 Kurtág, György Selections from “Signs, Games, and Messages” von Dohnányi, Ernst Sonata for Cello and Piano in B Major, op. 8
The South Korean pianist - youngest ever winner of the Leeds – on his inspirations, from Abbado to Unsuk Chin, and Bach to BurgundyWhat’s been your most memorable live music experience as an audience member?There have been two unforgettable concerts for me. The first was at Carnegie Hall in New York in 2006. Alfred Brendel gave a recital whose programme included Schubert’s piano sonata D894. I was not a big fan of Brendel at the time but when he played this sonata, it sounded so miraculous and it just blew my mind. It was a very special experience and since then I have been an enthusiastic follower of his interpretations. The second concert was in Paris where Claudio Abbado and the Lucerne Festival Orchestra played Mahler’s 9th Symphony. I was absolutely speechless from the beginning to the very end. Continue reading...
Wigmore Hall, London Two new works and a London premiere, alongside revisits to three other pieces, rode the spectrum from elegant and concise to dark and ruminativeThere were three premieres – two world, one a first for London – in the latest edition of the Nash Ensemble’s annual showcase of contemporary British music, as well as return visits to three other pieces premiered by the group, by Huw Watkins, Colin Matthews and Julian Anderson.The work being introduced to London was Peter Maxwell Davies’s A Sea of Cold Flame, completed in 2015. It proved to be his final setting of George Mackay Brown, whose poetry had been so important in shaping Davies’s music when he first settled in Orkney in the early 1970s. A baritone soloist (Roderick Williams here) is shadowed by a solo cello (Adrian Brendel) and supported by a string quartet, weaving the three Mackay Brown poems, about the harshness of Orkney life, into a continuous sequence, and at one point dissolving into wordless humming of a curiously aimless melody. Continue reading...
Those of you, my friends, who follow my posts already know that I love the music of Franz Schubert. The composer died at age 31, and he left us more than 600 songs. In addition he also composed amazing symphonies, sonatas and shorter pieces for piano solo, and a lot of amazing chamber music. This afternoon, I listened to Schubert’s song cycle called Winterreise (Winter Journey) for Baritone and piano. When I hear the human voice, it is as though Schubert himself is sharing with me the sadness, the illness, and the misery that were part of his young life. Here, from the Winterreise is the song ‘Der Lindenbaum’ (the Linden tree), performed by Dietrich Fischer-Dieskau, Baritone, and Alfred Brendel, piano.
Shutting the file on his recent erotic turbulence, the German violinist has been awarded the Frankfurter Musikpreis for 2017, a gift worth 15,000 Euros. The prize is cross-generic, as you can see from the winners below. It has consistently bypassed the leading German violinists – Mutter, Faust, Fischer, Tetzlaff, Zimmermann. Maybe they don’t like the violin much in Frankfurt. Past winners: 2017 David Garrett, Violinist 2016 Al Jarreau, Sänger und Songautor 2015 Peter Sadlo, Schlagzeuger 2014 Ernie Watts, Saxophonist 2013 Marie-Luise Neunecker, Hornistin und Instrumentalpädagogin 2012 John McLaughlin, Gitarrist und Komponist 2011 Anne Sofie von Otter, Mezzo-Sopranistin 2010 Keith Emerson, Keyboarder und Komponist 2009 Dr. José Antonio Abreu, Dirigent, Komponist und Mentor 2008 Paquito D’Rivera, Saxophonist, Klarinettist, Komponist 2007 Peter Eötvös, Dirigent, Komponist und Lehrer 2006 Peter Gabriel, Pop-/Rockmusiker 2005 György Ligeti, Komponist 2004 Udo Lindenberg, Deutsch-Rocker und Pop-Dichter 2003 Walter Levin, Violinist 2002 – 2001 Dietrich Fischer-Dieskau, Sänger 2000 Klaus Doldinger, Saxophonist 1999 Michael Gielen, Dirigent und Komponist 1998 Peter Herbolzheimer, Arrangeur/Interpret/Komponist 1997 Hans Zender, Komponist und Dirigent 1996 Wolfgang Niedecken, Sänger und Songwriter 1995 Tabea Zimmermann, Bratscherin 1994 Brian Eno, Musiker und Klangkünstler 1993 Harry Kupfer, Regisseur 1992 Georg Solti, Dirigent 1991 Aribert Reiman, Komponist 1990 Chick Corea, Jazz-Pianist 1989 Ludwig Güttler, Trompeter 1988 Heinz Holliger, Oboist 1987 Carl Dahlhaus, Musikwissenschaftler 1986 Albert Mangelsdorff, Jazz-Posaunist 1985 Brigitte Fassbaender, Kammersängerin 1984 Alfred Brendel, Pianist 1983 Edgar Krapp, Organist 1982 Gidon Kremer, Geiger
Schubert: Winterreise D911 Performed by Dietrich Fischer-Dieskau (baritone), and Alfred Brendel (piano) Franz Schubert’s song cycle ‘Winterreise’ was written late in his life. It is regarded both as a highlight of the genre and as the stamdard by which lieder singers are judged. To succeed in interpreting Winterreise is the artistic equivalent of a patent of nobility for a singer. The song cycle certainly became one of Dietrich Fischer-Dieskau’s calling cards and it is probably this work that made the baritone an international household name. Time and again his interpretation could be heard in the concert hall, at festivals, on the radio and on numerous records. In this recording we see two of the leading musicians of their day in the prime of their lives and at the very peak of their art and experience appearing together in the service of Schubert’s Winterreise. Both the experienced Schubert lieder singer and the Austrian pianist – known throughout the world for his authoritative interpretations of Schubert’s piano music – had performed Winterreise together frequently between 1975 and 1989. This recording of rehearsal and concert offer a glance into the development of a masterly interpretation of a masterwork. The Rehearsal: This 56-minute documentary offers fascinating insights into how Dietrich Fischer-Dieskau and Alfred Brendel rehearsed prior to their recording of this masterpiece. Here are the two artists in a brief extract from this song cycle: