Krzysztof Penderecki

Krzysztof Penderecki
Krzysztof Penderecki (1933-2020) conducting his oratorio "Seven Gates of Jerusalem" at the Winter Palace, St Petersburg, in 2001. Photo by Dmitry Lovetsky

Sunday, January 28, 2018

Franz Schubert: Piano Sonata No.18 in G major "Fantasy" – Daniil Trifonov

Russian concert pianist and composer Daniil Trifonov plays Franz Schubert's Piano Sonata No.18 in G major, Op.78, D.894. Recorded at the Verbier Festival, in the Salle des Combins, on July 24, 2016.

It was the idea of the original publisher of Franz Schubert's Piano Sonata in G major, D.894, Tobias Haslinger, not to call the work a sonata. Presumably because he felt the gentle opening movement to be so far from the traditional, rigorous sonata-opener that he knew his potential customers would expect, he provided it with the rather misleading surrogate title "Fantasie, Andante, Menuetto, and Allegretto"; the entire Sonata has ever since been known as "Fantasy" or "Sonata-Fantasy". This is ironic, since the opening movement that inspired Haslinger's nomenclature is probably one of the tamest and "most perfect" (as Robert Schumann said of it) sonata-allegros Schubert ever composed.

Piano Sonata No.18 in G major, D.894 was written during October 1826, and is one of just three Schubert piano sonatas published during the composer's lifetime (in 1827, as Opus 78). Schubert had to take what he could get from publishers, and, however he might have felt about the work's title, his stagnant finances hardly put him in a position to bicker.

The four movements are Molto moderato e cantabile, Andante (Schubert's preferred indication for a sonata "slow" movement), Allegro moderato (the minuet and trio), and Allegretto. The first movement differs from the textbook sonata-allegro only in texture and tone, not in the basics of its actual form: the two principal subjects are both given in their traditional keys and, unlike many of Schubert's sonata-movements, the recapitulation takes place in the home key of G major. There may be no more patient melody in all of Schubert than the pianissimo opening tune, whose animation seems at times to become all but suspended. The unseen force that propels this relaxed exposition comes to the fore in the cataclysmic, triple-fortissimo climaxes of the development.

The tender, almost Schumannesque main melody of the following Andante is made to embrace some wildly contrasting sections of music, during which fortissimo sforzandos spill over into cascading figures. The Minuet is aristocratic, with a gracious, ornamented trio.

The refrain theme of the Rondo finale is nearly as unhurried as the opening theme of the first movement. The delightfully contrasting ideas include a happy peasant dance and, during the central episode, a cantabile tune in C minor. After the last reprise of the refrain idea, to which is appended a witty and wonderful coda, the four bars that opened the movement appear one last time – un poco più lento, lovingly – to draw the final cadence.

Source: Blair Johnston (

Franz Schubert (1797-1828)

♪ Piano Sonata No.18 in G major "Fantasy", Op.78, D.894 (1826)

i. Molto moderato e cantabile
ii. Andante
iii. Menuetto: Allegro moderato – Trio
iv. Allegretto

Daniil Trifonov, piano

Directed by Colin Laurent

Switzerland, Verbier Festival, Salle des Combins, July 24, 2016

(HD 720p)

Russian pianist Daniil Trifonov has made a spectacular ascent in the world of classical music as a solo artist, a champion of the concerto repertoire, a collaborator at the keyboard in chamber music and song, and a composer. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. "He has everything and more... tenderness and also the demonic element. I never heard anything like that", marveled pianist Martha Argerich, while the Times (UK) has named Trifonov "without question the most astounding pianist of our age".

Focusing on Chopin in the 2017-2018 season, he releases Chopin Evocations, his fourth album as an exclusive Deutsche Grammophon artist, which includes both works by Chopin himself and, marking Trifonov's first foray into a new repertoire, works of 20th-century composers who were greatly influenced by the Polish master, including Samuel Barber, Federico Mompou and others.

Trifonov gives over 20 recitals on the same theme across the U.S., Europe and Asia this season, including one in Carnegie Hall as part of a seven-concert, season-long Perspectives series which he curates. Three of the seven concerts are devoted to Chopin and his influence: the solo recital and two all-Chopin programs with cellist Gautier Capuçon and the Kremerata Baltica chamber orchestra. Further concerts in the series include collaborations with baritone Matthias Goerne and Trifonov's teacher and mentor Sergei Babayan, the latter capping a U.S. tour that includes the world premiere of a Carnegie-commissioned work for two pianos by Mauro Lanza; a performance of his own piano concerto with longtime collaborator Valery Gergiev leading the Mariinsky Orchestra, again culminating a U.S. tour; and finally a solo recital in Zankel Hall that includes a seminal piece from each decade of the 20th century. Trifonov curates a similar series of recitals and orchestral appearances this season at the Vienna Konzerthaus, where he gives five performances, and in San Francisco, concluding with a season-closing Rachmaninov performance with the San Francisco Symphony and Michael Tilson-Thomas.

Trifonov's season contains much else as well. He tours Asia in the fall with a combination of recitals and orchestral performances, and goes on European tours with violinist Gidon Kremer and Kremerata Baltica, the London Philharmonic, the Royal Concertgebouw Orchestra, and the Teatro alla Scala Orchestra. Other orchestral appearances include Strauss' Burleske with the Spanish National Orchestra and Bavarian Radio Symphony Orchestra; the Schumann Concerto with Lisbon's Gulbenkian Orchestra and the Berlin Philharmonic; Prokofiev with the Mariinsky Orchestra led by Gergiev, and the Cleveland Orchestra led by Michael Tilson Thomas; Scriabin's Piano Concerto with the Seattle Symphony and Ludovic Morlot; a performance of his own piano concerto with the Detroit Symphony; and further Rachmaninov performances with Gergiev and the Munich Philharmonic, the Toronto Symphony led by Peter Oundjian, and the Philadelphia Orchestra under the baton of Yannick Nézet-Séguin.

The 2016-2017 season brought the release of Transcendental, a double album that represented Trifonov's third title as an exclusive Deutsche Grammophon artist and the first time Liszt's complete concert etudes had been recorded for the label in full. In concert, the pianist – winner of Gramophone's 2016 Artist of the Year award – played Tchaikovsky's First Piano Concerto under Riccardo Muti in the historic gala finale of the Chicago Symphony's 125th anniversary celebrations. Having scored his second Grammy Award nomination with Rachmaninov Variations, he performed Rachmaninov for his debut with the Berlin Philharmonic under Sir Simon Rattle at the orchestra's famous New Year's Eve concert, aired live in cinemas throughout Europe. Also with Rachmaninov, he made debuts with the Melbourne and Sydney Symphonies, returned to the Los Angeles Philharmonic under Gustavo Dudamel and the Royal Liverpool Philharmonic, and headlined the Munich Philharmonic's "Rachmaninov Cycle" tour with Gergiev. Mozart was the vehicle for his reengagements with the New York Philharmonic, Cleveland Orchestra, and Philadelphia Orchestra, as well as for dates with the Staatskapelle Dresden at home and at the Salzburg Festival and London's BBC Proms. He rejoined the Staatskapelle for Ravel, besides playing Beethoven with Zurich's Tonhalle Orchestra; Prokofiev with the Rotterdam Philharmonic; Chopin on tour with the Mahler Chamber Orchestra; and Schumann with the Houston Symphony, Royal Stockholm Philharmonic, and on tour with Riccardo Chailly and the Teatro alla Scala Orchestra. With a new recital program of Schumann, Shostakovich, and Stravinsky, Trifonov made recital debuts at London's Barbican and Melbourne's Recital Centre; appeared in Berlin, Vienna, Florence, Madrid, Oslo, Moscow, and other European hotspots; and returned to Philadelphia, Baltimore, and – for the fourth consecutive year – the mainstage of New York's Carnegie Hall. He also returned to the Tanglewood, Verbier, Baden-Baden, and Salzburg Festivals.

Other highlights of recent seasons include complete Rachmaninov concerto cycles at the New York Philharmonic's Rachmaninov Festival and with London's Philharmonia Orchestra; debuts with the Chicago Symphony, Boston Symphony, Cleveland Orchestra, Philadelphia Orchestra, Montreal Symphony, Rome's Orchestra dell'Accademia Nazionale di Santa Cecilia, London's Royal Philharmonic and BBC Proms, the Berlin Staatskapelle, and the Royal Stockholm Philharmonic, where he headlined the prestigious Nobel Prize Concert; and an Asian tour with the Czech Philharmonic. Since making solo recital debuts at Carnegie Hall, London's Wigmore Hall, Vienna's Musikverein, Japan's Suntory Hall, and the Salle Pleyel in Paris in 2012-2013, Trifonov has given solo recitals at venues including the Kennedy Center in Washington D.C., Boston's Celebrity Series, London's Royal Festival and Queen Elizabeth halls, Amsterdam's Concertgebouw (Master Piano Series), Berlin's Philharmonie (the Kammermusiksaal), Munich's Herkulessaal, Bavaria's Schloss Elmau, Zurich's Tonhalle, the Lucerne Piano Festival, the Palais des Beaux-Arts in Brussels, the Théâtre des Champs Élysées and Auditorium du Louvre in Paris, Barcelona's Palau de la Musica, Tokyo's Opera City, and the Seoul Arts Center.

The 2013-2014 season saw the release of Trifonov: The Carnegie Recital, the pianist's first recording as an exclusive Deutsche Grammophon artist; captured live at his sold-out 2013 Carnegie Hall recital debut, the album scored both an ECHO Klassik Award and a Grammy nomination. Besides the similarly Grammy-nominated Rachmaninov Variations, recorded with the Philadelphia Orchestra and Yannick Nézet-Séguin, his discography also features a Chopin album for Decca and a recording of Tchaikovsky's First Piano Concerto with Gergiev and the Mariinsky Orchestra on the ensemble's own label.

It was during the 2010-2011 season that Trifonov won medals at three of the music world's most prestigious competitions, taking Third Prize in Warsaw's Chopin Competition, First Prize in Tel Aviv's Rubinstein Competition, and both First Prize and Grand Prix – an additional honor bestowed on the best overall competitor in any category – in Moscow's Tchaikovsky Competition. In 2013 he was also awarded the prestigious Franco Abbiati Prize for Best Instrumental Soloist by Italy's foremost music critics.

Born in Nizhny Novgorod in 1991, Trifonov began his musical training at the age of five, and went on to attend Moscow's Gnessin School of Music as a student of Tatiana Zelikman, before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition, and continues to write for piano, chamber ensemble, and orchestra. When he premiered his own piano concerto in 2013, the Cleveland Plain Dealer marveled: "Even having seen it, one cannot quite believe it. Such is the artistry of pianist-composer Daniil Trifonov".


More photos

See also

Johannes Brahms: Chaconne in D minor for the Left Hand (after Johann Sebastian Bach's Partita for Solo Violin No.2, BWV 1004) – Daniil Trifonov (HD 1080p)

Frédéric Chopin: Piano Concertos No.2 in F minor & No.1 in E minor – Daniil Trifonov, Mahler Chamber Orchestra, Mikhail Pletnev

Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major – Daniil Trifonov, Israel Camerata Jerusalem, Avner Biron

Wednesday, January 24, 2018

Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor | Edward Elgar: Symphony No.2 in E flat major – Saleem Ashkar, Detroit Symphony Orchestra, Nikolaj Znaider – Saturday, January 27, 2018, 08:00 PM EST (UTC-5) / Sunday, January 28, 2018, 03:00 AM EET (UTC+2) – Live on Livestream

Saleem Ashkar (Photo by Peter Rigaud)

Edward Elgar's enigmatic nature fuels speculation as to the true inspiration for his Symphony No.2. Publicly, he dedicated the work to King Edward VII, but personal comments hint that his true muse was a close friend rumored to be a romantic partner. Still, different inscriptions in the music simultaneously point to his time in Venice, poetry, and even his favorite flower.

Saturday, January 27
Los Angeles: 05:00 PM
Detroit, New York, Toronto: 08:00 PM

Sunday, January 28
London: 01:00 AM
Paris, Brussels, Berlin, Madrid, Rome: 02:00 AM
Kiev, Jerusalem, Athens: 03:00 AM
Moscow: 04:00 AM
Beijing: 09:00 AM
Tokyo: 10:00 AM

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Live on Livestream

Wolfgang Amadeus Mozart (1756-1791)

♪ Piano Concerto No.20 in D minor, K.466 (1785)


ii. Romance
iii. Allegro vivace assai

Saleem Ashkar, piano

Edward Elgar (1857-1934)

♪ Symphony No.2 in E flat major, Op.63 (1911)

i. Allegro vivace e noblimente

ii. Larghetto
iii. Rondo: Presto
iv. Moderato e maestoso

Detroit Symphony Orchestra
Conductor: Nikolaj Znaider

(HD 720p)

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Saturday, January 27, 2018, 08:00 PM EST (UTC-5) / Sunday, January 28, 2018, 03:00 AM EET (UTC+2)

Live on Livestream

Photo by Peter Rigaud
Saleem Ashkar (b. 1976, Nazareth) made his New York Carnegie Hall debut at the age of 22 and has since worked with many of the World's leading orchestras including the Vienna Philharmonic, La Scala Philharmonic, Concertgebouw Amsterdam, London Symphony Orchestra, City of Birmingham Symphony Orchestra, Leipzig Gewandhaus, NDR Hamburg, DSO RSB and Konzerthaus orchestras in Berlin, Maggio Musicale Firenze, Santa Cecilia Rome, Mariinsky Orchestra St Petersburg, and Danish Radio Orchestra among others.

He performs regularly with conductors such as Zubin Mehta, Daniel Barenboim, Riccardo Muti, Ricardo Chailly, Fabio Luisi, Lawrence Foster, Philip Jordan, Nikolaj Znaider, Pietari Inkinen and Jaakub Hrusa. Following a highly successful debut with Christoph Eschenbach and NDR Hamburg, Eschenbach invited Saleem to play the Schumann Concerto with the Dusseldorf Symphony Orchestra in the special Schumann Birthday Concert in June 2010. He toured extensively with Riccardo Chailly and the Leipzig Gewandhaus Orchestra performing Mendelssohn's First Piano Concerto in appearances that included the Proms and Lucerne Festivals, in a tour celebrating the bicentennial anniversary of the composer's birth. Chailly re-invited Saleem for concerts and to record with him the Mendelssohn Concerti for Decca.

A dedicated recitalist and chamber musician, Saleem's current focus is a complete Beethoven Sonata Cycle presented by the Konzerthaus, Berlin which spans the 2016-2017 season. Saleem will perform the cycle in parallel in Prague and Osnabrück and his home country of Israel. He has appeared in series at venues including the Concertgebouw, Wigmore Hall, Mozarteum Salzburg, Musikverein Vienna, Conservatorio Guiseppe Verdi Milan, Florence and at festivals including Salzburg with the Vienna Philharmonic, the Proms with Leipzig Gewandhaus Orchestra, at Tivoli with the Israel Philharmonic and Zubin Mehta, in Lucerne, Ravinia, Risor, Menton and the Ruhr Klavier Festival, collaborating with artists including Daniel Barenboim, Nikolaj Znaider and Waltraud Meier.

Highlights of the current and future seasons include performances with Bamberg Symphoniker and Eschenbach, Orchestre Philharmonique du Luxembourg and Znaider, a tour to Australia to include the Adelaide Symphony and a third consecutive re-invitation to the Melbourne Symphony Orchestra. He will also travel to Canada and the US for a re-invitation to the National Arts Centre Ottawa with Alexander Shelley, an appearance at Cal Performances, San Francisco and a residency at Brown University.

Saleem's second Decca CD released in Spring 2014 features both Mendelssohn Piano Concertos recorded with Riccardo Chailly and the Gewandhaus Orchestra. His first Decca release included Beethoven's First and Fourth Piano Concertos recorded with Ivor Bolton and the NDR Hamburg Orchestra.

Saleem is Ambassador to Music Fund, which supports musicians and music schools in conflict areas and developing countries.


Nikolaj Znaider (b. 1975, Copenhagen) performs at the highest level as both conductor and virtuoso violin soloist with the world's most distinguished orchestras. He has been Principal Guest Conductor of the Mariinsky Orchestra Saint Petersburg since 2010, and was previously Principal Guest Conductor of the Swedish Chamber Orchestra.

Following a triumphant return to the Tanglewood Festival with the Boston Symphony and Juanjo Mena, the 2017-2018 season sees Znaider continue his Mozart recording project with the London Symphony Orchestra with the second and third concertos directed from the violin. He has a particularly strong relationship with the LSO; an orchestra he conducts and performs as soloist with every season. Their recording of Mozart's Violin Concertos Nos. 4 and 5 will be released on the LSO Live label in March 2018. Working at the highest level as both as conductor and as soloist, Znaider appears regularly with orchestras such as the Staatskapelle Dresden, Cleveland Orchestra, New York Philharmonic, and Chicago Symphony.

Znaider's extensive discography includes the Nielsen Concerto with Alan Gilbert and the New York Philharmonic, Elgar Concerto in B minor with the late Sir Colin Davis and the Staatskapelle Dresden, award-winning recordings of the Brahms and Korngold concertos with Valery Gergiev and the Vienna Philharmonic, the Beethoven and Mendelssohn concertos with Zubin Mehta and the Israel Philharmonic, the Prokofiev Concerto No.2 and Glazunov Concerto with Mariss Jansons and the Bavarian Radio Symphony, and the Mendelssohn Concerto on DVD with Riccardo Chailly and the Gewandhaus Orchestra. Znaider has also recorded the complete works of Brahms for violin and piano with Yefim Bronfman.

He is passionate about supporting the next generation of musical talent and spent ten years as Founder and Artistic Director of the annual Nordic Music Academy summer school, and is now President of the Nielsen Competition, which takes place every three years in Odense, Denmark.

Nikolaj Znaider plays the "Kreisler" Guarnerius "del Gesu" 1741 on extended loan to him by The Royal Danish Theater through the generosity of the VELUX Foundations, the Villum Fonden and the Knud Højgaard Foundation.


Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor, K.466

Mozart completed this work on February 10, 1785, and played the first performance the next evening in Vienna. Scoring adds a flute and two trumpets to winds, horns, timpani, and strings.

On February 11, 1785, Leopold Mozart arrived in Vienna after a wintry, bone-rattling, coach journey from Salzburg – his first visit to the capital in 12 years and his last. On the same night he attended an Akademie by his celebrated son, who had just turned 29 and was at the peak of his popularity in ever-fickle Vienna. Leopold wrote to daughter Nannerl that, in the Casino on the Mehlgrube, he beheld "a vast concourse of people of rank... The concert was incomparable, the orchestra excellent". After two arias by a singer from the Italian opera, there "came a new, superb piano concerto by Wolfgang, which the copyist was still writing when we arrived, and the rondo of which your brother hadn't time to play because he had to revise copies [of the orchestral parts]". This was the trailblazing D minor Concerto that survived the neglect of so much of Mozart's music during the nineteenth century. Beethoven, both smitten and influenced, played it publicly, with his own cadenzas in the first and last movements, where Mozart had improvised. No reports have survived of the audience's acceptance, but had they been hostile or even cool, surely Leopold would have reported this to Nannerl. His son's marriage without paternal permission in 1782 to Constanze Weber still rankled; so did their newfound independence. However, Papa's immediate and unreserved acceptance of Wolfgang's departures from tradition in the new concerto – beginning immediately with an agitated, subtly changing bass line beneath the throbbing syncopation of violins and violas – revealed a flexibility otherwise missing in his personal character. One can almost admire the manipulative Leopold for that.

In the first movement, Allegro (D minor, common time), Mozart's themes are motivic rather than conventionally melodic; more than two centuries later it remains a miracle that the soloist never plays exactly what the orchestra sets forth in the exposition, despite a rock-solid sonata structure throughout. When the piano finally enters in measure 77, it does so as an alien in a threateningly troubled land. Nor does the soloist take complete charge until the coda of the finale where, half-an-hour later, he coaxes the music into D major.

The second movement is a Romanza (B flat major, common time). Not to underrate Mozart's incomparable genius in music before this, nothing had equaled the unity of expression achieved in 1785 and after. Beyond integrating the outer movements, he made the slow movement part and parcel of the whole. This Romanza without tempo marking (but clearly Andante) is a rondo in ABACA form that plunges dramatically into G minor before the end couplet – a significant harmonic departure not just here but in the concerto's overall context.

Mozart returns to D minor ion the third movement (Allegro assai; alla breve). Until the coda, we hear one of Mozart's rare rondos in a minor key. More precisely, it is an extended sonata-rondo (ABACDA, plus coda), since C is a development, with the reprise in section D. The development again as before in the second movement seeks out G minor – the darkest key in Mozart's harmonic lexicon – before D major is finally allowed to break through, albeit a whitish and wintry sun.

Source: Roger Dettmer (

Edward Elgar: Symphony No.2 in E flat major, Op.63

Although the second symphony followed the first by only three years, in the intervening period the world and Elgar had changed. The ebullient, confident mood of the early years of the century was dying, the tensions that culminated in the First World War were beginning to emerge and, by the time of the Symphony's first performance, King Edward VII had also died.

While the Symphony was well received by most standards, the audience's response to the first performance was polite and restrained in comparison to the uninhibited reception given to its predecessor, leading Elgar to liken them to stuffed pigs. In some respects, this symphony has never fully recovered from that start – it is probably the less popular and less frequently performed of the two symphonies despite being melodically more inventive and varied than the First symphony. This may be because it is the more complex work. Rather than a single theme recurring in all four movements, structural unity is achieved through extensive cross-references between movements, most dramatically when the rather ghostly theme from the first movement re-emerges as a frenzied outburst in the middle of the rondo.

And there is a marked contrast in mood. In place of the lyrical dreaminess of the First Symphony's adagio, the second contains a somewhat sombre funeral march. (Many assumed this to be in memory of the recently deceased king, but sketches of the movement exist from some years before. Elgar probably composed the theme as a tribute to his friend Alfred Rodewald, the Liverpool businessman who conducted the first performance of the first two Pomp and Circumstance marches in 1901 and who died two years later at the age of 43.) And in contrast to the jaunty confidence of the First Symphony, the Second has an inner restlessness and mood of conflict which is only resolved when, in the closing minutes, the "spirit of delight" theme which opens the Symphony returns to bestow a satisfying tranquility.


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Live on Livestream: All Past Events

Sunday, January 21, 2018

Johann Sebastian Bach: Goldberg Variations, BWV 988 – Ji Liu (HD 1080p)

The Chinese concert pianist Ji Liu plays Johann Sebastian Bach's Goldberg Variations, BWV 988. Recorded in the Old Vic at the Bristol Proms, England, on July 29, 2014.

The "Goldberg Variations" is the last of a series of keyboard music Bach published under the title of Clavierόbung, and is often regarded as the most serious and ambitious composition ever written for harpsichord. Based on a single ground bass theme, the variations display not only Bach's exceptional knowledge of diverse styles of music of the day but also his exquisite performing techniques. Being also the largest of all clavier pieces published during the Baroque period, the work soars high above others in terms of its encyclopaedic character. From this, it is often considered that it sums up the entire history of Baroque variation, the "Diabelli Variations" by Beethoven being the Classical counterpart. However, doomed perhaps by its requirements of virtuoso techniques from a performer, it was not as popularly known as the "Well-Tempered Clavier", which was not even published during the composer's lifetime. Nonetheless, the work has long been regarded as the most important set of variations composed in the Baroque era: in 1774 Johann Philipp Kirnberger, one of Bach's pupils, referred to it as "the best variations", while in 1802 Johann Nicolaus Forkel, the author of the first ever biography of J. S. Bach, praised the work as the "model, according to which all variations should be made".

Johann Sebastian Bach (1685-1750)

♪ Goldberg Variations, BWV 988 (1741)

i. Aria

ii. Variatio 1 a 1 Clav
iii. Variatio 2 a 1 Clav
iv. Variatio 3 Canone all' Unisono a 1 Clav
v. Variatio 4 a 1 Clav
vi. Variatio 5 a 1 ovvero 2 Clav
vii. Variatio 6 Canone alla Seconda a 1 Clav
viii. Variatio 7 a 1 ovvero 2 Clav al tempo di Giga
ix. Variatio 8 a 2 Clav
x. Variatio 9 Canone alla Terza a 1 Clav
xi. Variatio 10 Fughetta a 1 Clav
xii. Variatio 11 a 2 Clav
xiii. Variatio 12 Canone alla Quarta a 1 Clav
xiv. Variatio 13 a 2 Clav
xv. Variatio 14 a 2 Clav
xvi. Variatio 15 Canone alla Quinta a 1 Clav
xvii. Variatio 16 Ouverture a 1 Clav
xviii. Variatio 17 a 2 Clav
xix. Variatio 18 Canone alla Sexta a 1 Clav
xx. Variatio 19 a 1 Clav
xxi. Variatio 20 a 2 Clav
xxii. Variatio 21 Canone alla Settima a 1 Clav
xxiii. Variatio 22 a 1 Clav
xxiv. Variatio 23 a 2 Clav
xxv. Variatio 24 Canone all' Ottava a 1 Clav
xxvi. Variatio 25 a 2 Clav
xxvii. Variatio 26 a 2 Clav
xxviii. Variatio 27 Canone alla Nona a 2 Clav
xxix. Variatio 28 a 2 Clav
xxx. Variatio 29 a 1 ovvero 2 Clav
xxxi. Variatio 30 Quodlibet a 1 Clav
xxxii. Aria da Capo e Fine

Ji Liu, piano

England, Bristol Proms, Old Vic Theatre, July 29, 2014

(HD 1080p)

The Chinese pianist, Ji Liu, was born in 1990 in China to a family with an interest in music, where his mother played guitar and his father played the trumpet, although his parents were not professional musicians. He started his early musical education at the age of 3. Whilst still only 13, he won an international competition to perform a recital at New York's famed Carnegie Hall. That concert proved to be a major turning point in his career. He initially studied piano and conducting at the Shanghai Conservatory of Music, after which he studied under Dmitri Bashkirov at the Escuela Superior de Musica Reina Sofia in Madrid. In 2007, he was awarded a full scholarship to continue his Bachelor of Music focusing on Piano Performance with Prof. Christopher Elton and Composition with Ruth Byrchmore at the Royal Academy of Music in London. In 2013, he graduated his Master of Music with both a Distinction and a DipRAM for his extraordinary Final Recital from the Royal Academy of Music.

Described as the "Wunderkind Pianist" by the Guardian and "A Major Talent" by, Ji Liu positions himself at the top of the record charts and delight audiences around the world. In 2014 when he was 23, his debut album, "Piano Reflections" produced by Grammy-winning producer Andrew Cornall and released by Classic FM/Universal Music, immediately topped No.1 and stormed the UK charts since its release, making him the UK's biggest-selling classical breakthrough artist of 2014. The album was also nominated as the "best classical album of year" at the prestigious Chinese Music Award in 2015. Liu has then released another two chart-topping albums, "Piano Encores" and "Pure Chopin" in 2015 and 2016 respectively.

As a soloist, Ji Liu has appeared at major venues and festivals internationally including London's Royal Albert Hall, Royal Festival Hall, Queen Elizabeth Hall, Wigmore Hall, Barbican Centre, St John's Smith Square and etc; the St George's Hall and the new Liverpool Philharmonic Hall in Liverpool; Birmingham's Town Hall, Sage Gateshead in Newcastle; Old Vic Theatre and Colston Hall in Bristol; Royal Concert hall in Nottingham; Concertgebouw in Amsterdam; Auditorium du Louvre and Salle Cortot in Paris, Carnegie Hall in New York, Rachmaninov Hall at Tchaikovsky Conservatory in Moscow, Salle Garnier Opéra de Monte-Carlo; Théâtre de Champ Fleuri in La Réunion; Shanghai Oriental Art Centre, Shanghai Concert Hall and the Grand Theatre in Shanghai; Suzhou Culture and Arts Center; Kumho Arts Hall in Seoul; the Henley Festival in the UK; the Stavanger Chamber Music Festival in Norway, Verbier Festival and Gstaad Festival in Switzerland, Tongyeong International Music Festival in South Korea; The 3rd Krasnoyarsk International Music Festival of the Asia-Pacific region in Russia and etc.

Ji Liu has played Schumann and Beethoven Piano Concertos with the Philharmonia Orchestra at the Dorking Halls and the Royal Festival Hall in London; and Rachmaninov Piano Concerto No.2 with Vasily Petrenko and the Royal Liverpool Philharmonic at the sold-out Royal Albert Hall. Ji Liu was also the soloist who opened the 2015-2016 season for the Royal Liverpool Philharmonic Orchestra and its new Liverpool Philharmonic Hall.

Last season saw Ji Liu's warm welcome-back to the Royal Albert Hall performing his concerto debut with the Bournemouth Symphony Orchestra; to the Royal Festival Hall playing Mozart Piano Concerto K.467 with the Mozart Festival Orchestra.

As a hugely creative artist, Ji Liu has a rare and immense capability of playing music from Johann Sebastian Bach's Goldberg Variations to Ligeti Piano Etudes to his own transcription of Skyfall. His piano playing always embraces distinctive quality of devotion, originality, purity and authenticity. Ji Liu's passion for new music has led him collaborating with some of the greatest composers of our time. In 2016, he played the World Premiere of Ludovico Einaudi's new piano concerto with Maestro Damian Iorio and the Royal Liverpool Philharmonic Orchestra at the Liverpool Philharmonic Hall.

In his spare time, Ji Liu is enthusiastic about fashion, fine watches and visual arts. He likes sharp suits and unique shoes. He believes that classical music is for everyone, and one of his dreams is to make classical music more accessible and popular to a much wider audience.


More photos

See also

Johann Sebastian Bach: Goldberg Variations, BWV 988 – Evgeni Koroliov (Bachfest Leipzig 2008)

Johann Sebastian Bach: The Well-Tempered Clavier, Book I, BWV 846-869 – András Schiff

Johann Sebastian Bach: St John Passion, BWV 245 – Nicholas Mulroy, Matthew Brook, Sophie Bevan, Tim Mead, Andrew Tortise, Konstantin Wolff, Robert Davies – Dunedin Consort, John Butt

Johann Sebastian Bach: The Art of Fugue, BWV 1080 – Angela Hewitt (Download 44kHz/24bit & 44.1kHz/16bit)

Johann Sebastian Bach: 6 Suites for Cello Solo, BWV 1007-1012 – István Várdai (Audio video)

Rémi Geniet plays Johann Sebastian Bach (Download 96kHz/24bit)

Johann Sebastian Bach: Concertos Italiens – Alexandre Tharaud (Audio video)

Saturday, January 20, 2018

Joseph Haydn: Cello Concerto No.1 in C major – Michael Katz, New York Classical Players, Dongmin Kim (4K Ultra High Definition)

Accompanied by the New York Classical Players under the baton of the South Korean conductor Dongmin Kim, the Israeli cellist Michael Katz performs Joseph Haydn's Cello Concerto No.1 in C major. The concert was recorded at Church of the Heavenly Rest, New York City, on February 19, 2017.

Composed between 1761 and 1765 for Joseph Weigl, a gifted cellist in Haydn's Esterházy orchestra, this concerto was presumed lost until 1961, when it turned up the National Museum in Prague among documents originally from Radenin Castle. High virtuosity is demanded of the cellist, as in the Sixth, Seventh, and Eighth Symphonies (in which Haydn provided solos especially for Weigl). What Haydn did not provide are authenticated cadenzas for the first and second movements; cellists generally employ either anonymous eighteenth century cadenzas, or those prepared since 1961.

The first movement, marked Moderato, begins with a confident, courtly theme with dotted rhythms; in contrast, the second subject is softer and more sinuous, establishing a more lyrical mood. The mildly syncopated orchestral exposition ends with Lombardic rhythms at the conclusion of the orchestral introduction. When the cello enters and takes command of the themes, it launches the first theme with a resonant C major chord, eventually presenting each melody in an increasingly ornate manner. The development engages the cellist in intense passagework derived from the primary theme, while reappearances of the second subject allow the soloist to sing more expansively. Haydn works through the theme groups in sequence twice before reaching the cadenza and a brief coda derived from the movement's opening measures.

The Adagio dispenses with the orchestra's oboes and horns, leaving the soloist to emerge from the sound of the string orchestra with a long, powerfully expressive note. The noble, somewhat melancholic, first theme requires an especially strong tone from the cello, while its answering subject calls for double stops. The movement's shadowy middle section derives from a theme almost as austere as one from a Baroque church sonata, yet encourages the cellist to play with a warm, expressive tone. The third section is an abbreviated repetition of the first one.

Last comes an Allegro molto finale which pretty much follows the ritornello form found in many Vivaldi concertos. The orchestra establishes a fleet theme that recurs, as in a rondo, throughout the rest of the movement. As in the slow movement, almost every time the cello enters, it emerges from the orchestra with a single, long note; this time, however, the long note metamorphoses into a rapidly ascending C major scale. However, while expected to execute intricate high-register passagework which includes rapid scales, the cellist also has an opportunity to interpret melodic phrases of exceptional lyricism.

Source: James Reel (

Joseph Haydn (1732-1809)

♪ Cello Concerto No.1 in C major, Hob.VIIb/1 (1761-1765)

i. Moderato [00:08]*
ii. Adagio [09:48]
iii. Allegro molto [18:21]

Michael Katz, cello

New York Classical Players
Conductor: Dongmin Kim

Church of the Heavenly Rest, New York City, February 19, 2017

(4K Ultra High Definition)

* Start time of each part

Hailed by the press for his "bold, rich sound" (Strad Magazine) and "nuanced musicianship", (The New York Times), Israeli cellist Michael Katz has appeared as a soloist and chamber musician in venues such as Weill Recital Hall, Alice Tully Hall, the Kennedy Center, the Van Wezel Performing Arts Center, Tokyo's Oji Hall, and Jerusalem's Henry Crown Auditorium. His musicianship has been recognized with many awards, among them all three prizes at the 2011 Aviv Competition, and first prizes at the Juilliard School's 2010 Concerto Competition and the 2005 Turjeman Competition.

As the cellist of the Lysander Piano Trio, Michael Katz was a winner of the 2012 Concert Artists Guild Competition, and was awarded first prize in the 2011 Coleman competition and 2011 J.C. Arriaga Competition. He has performed with Itzhak Perlman, Midori, Laurence Lesser, Anthony Marwood, Donald Weilerstein, Peter Frankl, David Finckel, Roger Tapping, Charles Neidich, and others. Mr. Katz's festival appearances include performances at Ravinia, Music@Menlo, Yellow Barn, Sarasota, and the Holland Music Sessions.

Born in Tel-Aviv, Michael Katz began his cello studies at age seven, and his early teachers included Zvi Plesser, Hillel Zori and the late Mikhail Khomitzer. Michael Katz received his Bachelor of Music degree from the New England Conservatory as a student of Laurence Lesser and his Master of Music from the Juilliard School where he studied with Joel Krosnick. He is currently pursuing a Doctor of Music at SUNY Stony Brook as a student of Colin Carr. Additionally, Michael Katz is currently a Fellow in Ensemble ACJW, a program of Carnegie Hall and the Juilliard School which trains the next generation of performers to be artists and teachers that hold a deep commitment to the communities in which they live and work.


Conductor Dongmin Kim is the founder and Music Director of the New York Classical Players (NYCP). He is quickly establishing himself as one of the most exciting and versatile conductors of his generation. He is holding the Music Director position of the New York Classical Players; a New York-based professional chamber orchestra of today's most gifted young instrumentalists.

Since NYCP's founding in 2010, Mr. Kim had led the ensemble in nearly 80 concerts in the greater New York City metropolitan area. NYCP's guest artists have included such renowned musicians as Cho-Liang Lin, Chee-Yun, Mark Kosower, Alex Kerr, Stefan Jackiw, Kim Kashkashian, Charles Neidich, Peter Wiley and Richard O'Neill.  In 2014, Mr. Kim led NYCP in its first national tour, appearing with esteemed soprano Sumi Jo to audiences across the country.

Guest artists for the 2016-2017 season include Clara-Jumi Kang, Brandon Ridenour, Jasmine Choi and Ricardo Rivera, and soloists drawn from within the ensemble; Michael Katz, Alice Yoo, Madeline Fayette, and Bomsori Kim. This season also demonstrates Mr. Kim's commitement to contemporary works, with NYCP premiering works including Jennifer Hidden, Dobrinka Tabakova, Teddy Niedermaier, and Texu Kim.

Highlights of Mr. Kim's career include appearances as guest conductor of the National Symphony Orchestra at the Kennedy Center as well as a series of sold-out performances of The Magic Flute with the Seoul Arts Center Festival Orchestra. He been on the podium with the orchestras of Florida, Minnesota and Philadelphia, the Baltimore, Indianapolis, Jacksonville, Memphis, San Antonio, Virginia and Winnipeg symphonies, as well as the Orquesta Filarmonica de la UNAM, the Rheinland-Pfalz State Philharmonic and the Ensemble Zandonai.

Mr. Kim was awarded the distinguished Herbert von Karajan Fellowship, which resulted in a residency with the Wien Philharmonic Orchestra at the Salzburg Music Festival. For the 2005-2006 season, he was the Schmidt Conducting Fellow at the Indianapolis Symphony. In this capacity, he worked with renowned conductors and performing artists Andrew Litton, Raymond Leppard, Mario Venzago, Christoph Poppen, Lynn Harrell, André Watts, Garrick Ohlsson, and Lang Lang.

A keen advocate of contemporary music, Mr. Kim has premiered over 50 compositions. He has led various contemporary ensembles in performances, readings and recording of new compositions, a highlight of which was the first performance of P.Q. Phan's opera, Lorenzo de Medici in 2007. Mr. Kim has also collaborated with leading composers such as George Crumb, Harrison Birtwistle, David Dzubay, Don Freund, Edward Smaldone, Wei-Chieh Lin and Clint Needham.

Mr. Kim is also a noted violist, having held principal positions at the Pacific Music Festival Orchestra under baton of Michael Tilson-Thomas, Seoul's Yonsei Symphony Orchestra and the Indiana University Symphony Orchestra. He was the first violist to win First Prize in the Yonsei Symphony Orchestra Concerto Competition, which resulted in a solo appearance with the orchestra. As a recitalist and chamber musician, Mr. Kim has performed throughout the United States as well as in Korea, Japan, Hong Kong, and Singapore. He studied the viola with Alan de Veritch, Paul Neubauer, James Dunham, Yozhak Schotten, YongYoon Kim and SeungYong Choi, and his chamber music mentors include members of the Beaux Arts Trio and the Cleveland, Juilliard, Mendelssohn, Orion, and Tokyo String Quartets, and Janos Starker. Mr. Kim's conducting mentors include Kurt Masur, Lorin Maazel, Christoph Eschenbach, Leonard Slatkin, Sergiu Comissiona, and Gustav Meier.

A native of Seoul, Korea, Mr. Kim studied Orchestral Conducting under David Effron, Thomas Baldner and Imre Pallo at the Jacobs School of Music at Indiana University (IU), where he taught the graduate conducting courses and served as music director of the IU All-Campus Orchestra. He also served as the assistant conductor of the IU Opera Theater and the IU New Music Ensemble. Prior to his studies in the United States, Mr. Kim graduated from Yonsei University, where he was awarded the Music Merit Scholarship. Mr. Kim currently resides in New York with his wife, Sally S. Yang.


The New York Classical Players (NYCP) is the region's only professional orchestra sharing exclusively free performances. Comprised of creative and virtuosic young musicians, NYCP's adventurous programming shares familiar masterpieces, bold new commissions, and unexpected musical treasures. Each season, thousands of NYCP concertgoers experience both the dynamic power of the orchestral repertoire and the versatile intimacy of chamber performance. NYCP is proud to collaborate with some of the world's most renowned musicians, including Kim Kashkashian, Cho-Liang Lin, Stefan Jackiw, Sumi Jo, Alex Kerr, Donald Weilerstein, and Chee-Yun, and is under the baton of Music Director and Founder Dongmin Kim.


More photos

See also

Joseph Haydn: Cello Concerto No.2 in D major – Alice Yoo, New York Classical Players, Dongmin Kim (4K Ultra High Definition)

Joseph Haydn: Cello Concerto No.1 in C major – Nicolas Altstaedt, Arcangelo, Jonathan Cohen (HD 1080p)

Joseph Haydn: Cello Concerto No.1 in C major – Bruno Philippe, hr-Sinfonieorchester, Christoph Eschenbach (HD 1080p)

Joseph Haydn: Cello Concerto No.1 in C major – Andreas Brantelid, Musica Vitae, Malin Broman (HD 1080p)

Joseph Haydn: Cello Concerto No.1 in C major – Marie-Elisabeth Hecker, Radio Kamer Filharmonie, Philippe Herreweghe

Monday, January 15, 2018

Maurice Ravel: Piano Concerto in G major – Hélène Grimaud, Gothenburg Symphony Orchestra, Lionel Bringuier (HD 1080p)

Accompanied the Gothenburg Symphony Orchestra, the French classical pianist Hélène Grimaud plays Maurice Ravel's Piano Concerto in G major, a piano concerto in three movements and is heavily influenced by jazz, which the French composer had encountered on a concert tour of the United States in 1928. Conductor: Lionel Bringuier. Recorded at Gothenburg Concert Hall on September 7, 2017.

The Piano Concerto in G major was a long time in the making. Ravel started thinking about it in 1928 (cf. his visit to Oxford) after his return from America; he took it up again in 1929, but then broke off to write the Concerto for the left hand, then continued with in 1930, and completed it in 1931.

For a long time Ravel declared his intention to perform the work himself and to undertake a world tour with it. But in recognition of his diminishing health and his technical limitations as a pianist, he handed over the role of soloist to Marguerite Long (13 November 1874 – 13 February 1966), the French pianist and teacher, to whom the work is dedicated. Together they gave the first performance at the Salle Pleyel in Paris on 14 January 1932.

The Concerto observes traditional 3-movement form, albeit with great contrasts of style between movements and indeed within them.

Allegramente: The first movement opens with a single whip-crack, and what follows can be described as a blend of the Basque and Spanish sounds of Ravel's youth and the newer jazz styles he had become so fond of. Like many other concerti, the opening movement is written in the standard sonata-allegro form, but with considerably more emphasis placed on the exposition.

Adagio assai: In stark contrast to the preceding movement, the second movement is a tranquil subject of Mozartian serenity written in ternary form (sometimes called song form, it is a three-part musical form where the first section (A) is repeated after the second section (B) ends. It is usually schematized as A–B–A).

Presto: The third movement recalls the intensity of the first with its quick melodies and difficult passage-work. Possibly due to its short length, the third movement is often repeated by the orchestra and soloist as an "encore" after the concerto.


Maurice Ravel (1875-1937)

♪ Piano Concerto in G major (1931)

i. Allegramente

ii. Adagio assai
iii. Presto

Hélène Grimaud, piano

Gothenburg Symphony Orchestra

Conductor: Lionel Bringuier

Gothenburg Concert Hall, September 7, 2017

(HD 1080p)

She could be called a Renaissance woman for our times. Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. She is a woman with multiple talents that extend far beyond the instrument she plays with such poetic expression and peerless technical control. The French artist has established herself as a committed wildlife conservationist, a compassionate human rights activist and as a writer.

Grimaud was born in 1969 in Aix-en-Provence and began her piano studies at the local conservatory with Jacqueline Courtin before going on to work with Pierre Barbizet in Marseille. She was accepted into the Paris Conservatoire at just 13 and won first prize in piano performance a mere three years later. She continued to study with György Sándor and Leon Fleisher until, in 1987, she gave her well-received debut recital in Tokyo. That same year, renowned conductor Daniel Barenboim invited her to perform with the Orchestre de Paris.

This marked the launch of Grimaud's musical career, characterised ever since by concerts with most of the world’s major orchestras and many celebrated conductors. Her recordings have been critically acclaimed and awarded numerous accolades, among them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, Record Academy Prize (Tokyo), Midem Classic Award and the Echo Award.

Between her debut in 1995 with the Berliner Philharmoniker under Claudio Abbado and her first performance with the New York Philharmonic under Kurt Masur in 1999 – just two of many notable musical milestones – Grimaud made a wholly different kind of debut: in upper New York State she established the Wolf Conservation Center.

Her love for the endangered species was sparked by a chance encounter with a wolf in northern Florida; this led to her determination to open an environmental education centre. "To be involved in direct conservation and being able to put animals back where they belong", she says, "there's just nothing more fulfilling". But Grimaud's engagement doesn't end there: she is also a member of the organisation Musicians for Human Rights, a worldwide network of musicians and people working in the field of music to promote a culture of human rights and social change.

For most people, establishing and running an environmental organisation or having a flourishing career as a musician would be accomplishment enough. Yet, remarkably, Hélène Grimaud has also found time to pursue writing, publishing three books that have appeared in various languages. Her first, "Variations Sauvages", appeared in 2003. It was followed in 2005 by "Leçons particulières", and in 2013 by "Retour à Salem", both semi-autobiographical novels.

Despite her divided dedication to these multiple passions, it is through Grimaud's thoughtful and tenderly expressive music-making that she most deeply touches the emotions of audiences. Fortunately, they have been able to enjoy her concerts worldwide, thanks to the extensive tours she undertakes as a soloist and recitalist. She is also an ardent and committed chamber musician who performs frequently at the most prestigious festivals and cultural events with a wide range of musical collaborators, including Sol Gabetta, Thomas Quasthoff, Rolando Villazón, Jan Vogler, Truls Mørk, Clemens Hagen and the Capuçon brothers.

Recent performance highlights have included two collaborations with the Turner Prize-winning artist Douglas Gordon – firstly, tears become… streams become…, a large-scale immersive installation at New York's historic Park Avenue Armory, whose Drill Hall floor was flooded to become an immense field of water, and secondly, Neck of the Woods, a piece devised for the Manchester International Festival combining music, visual art and theatre, in which Grimaud shared the stage with legendary actress Charlotte Rampling. She also appeared at the opening-night gala of the new Philharmonie de Paris and gave two summer concerts at the Caramoor Center for Music and the Arts (New York State) in her role as 2015 Artist-in-Residence. Her recital at the Philharmonie Essen in May, meanwhile, was crowned by the award of the 2015 Klavier-Festival Ruhr Prize, honouring her exceptional career and extraordinary artistry.

In her diary for the 2015/2016 season are appearances with Valery Gergiev and the Mariinsky Orchestra at St Petersburg's White Nights Festival and at the Festspielhaus Baden-Baden's Summer Festival. She plays Beethoven with the Orchestra dell'Accademia Nazionale di Santa Cecilia under Antonio Pappano and Brahms with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. She also tours Asia and Europe, playing concertos by Ravel, Brahms and Mozart and giving a recital programme inspired by water.

In 2016, Grimaud released Water, a live recording of the performances from tears become... streams become... which brings together works by nine composers: Berio, Takemitsu, Fauré, Ravel, Albéniz, Liszt, Janáček, Debussy, and Nitin Sawhney, who has written seven short Water Transitions for the album as well as producing it. Grimaud has been an exclusive Deutsche Grammophon artist since 2002, and Water follows the September 2013 release of her album of the two Brahms piano concertos, the first concerto with Andris Nelsons conducting the Bavarian Radio Symphony Orchestra and the second recorded with the Vienna Philharmonic. Classic FM said: "Hélène Grimaud turns her thrilling, deeply personal brand of music-making to Brahms's first and second Piano Concertos. Throughout her playing is sensitive, graceful, and commanding without ever feeling forced". Limelight magazine called it an "utterly remarkable, inspired and inspiring recording".

Duo, the album she recorded with cellist Sol Gabetta just prior to the Brahms concertos, won the 2013 Echo Award for "chamber recording of the year". Previous releases include her readings of Mozart's Piano Concertos Nos.19 and 23 on a 2011 disc which also featured a collaboration with singer Mojca Erdmann in the same composer's Ch'io mi scordi di te?. Grimaud's 2010 release, the solo recital album Resonances, showcased music by Mozart, Berg, Liszt and Bartók, while her other DG recordings include a selection of Bach's solo and concerto works, in which she directed the Deutsche Kammerphilharmonie Bremen from the piano; a Beethoven disc with the Staatskapelle Dresden and Vladimir Jurowski which was chosen as one of history's greatest classical music albums in the iTunes "Classical Essentials" series; Reflection and Credo (both of which feature a number of thematically linked works); a Chopin and Rachmaninov Sonatas disc; a Bartók CD on which she plays the Third Piano Concerto with the London Symphony Orchestra under Pierre Boulez; and a DVD release of Rachmaninov's Second Piano Concerto with the Lucerne Festival Orchestra under the direction of Claudio Abbado.

Hélène Grimaud is undoubtedly a multi-faceted artist. Her deep dedication to her musical career, both in performances and recordings, is reflected and reciprocally amplified by the scope and depth of her environmental and literary pursuits.


More photos

See also

Robert Schumann: Piano Concerto in A minor – Hélène Grimaud, NDR Elbphilharmonie Orchester, Thomas Hengelbrock

Hélène Grimaud: Water – Nitin Sawhney, Luciano Berio, Toru Takemitsu, Gabriel Fauré, Maurice Ravel, Isaac Albeniz, Franz Liszt, Leoš Janáček, Claude Debussy (Audio video)

A Russian Night: Tchaikovsky, Rachmaninov & Stravinsky – Hélène Grimaud, Claudio Abbado (Full HD 1080p)

Hélène Grimaud talks about Claudio Abbado

Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major, ii. Adagio – Hélène Grimaud, Radoslaw Szulc

Pyotr Ilyich Tchaikovsky: Symphony No.6 in B minor "Pathétique" – hr-Sinfonieorchester, Lionel Bringuier

George Gershwin: Rhapsody in Blue – Yuja Wang, Camerata Salzburg, Lionel Bringuier

Maurice Ravel: Piano Concertos – Yuja Wang, Tonhalle-Orchester Zürich, Lionel Bringuier (Audio video)

Maurice Ravel: Piano Concerto in G major – Alice Sara Ott, Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Gothenburg Symphony Orchestra – All the posts