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Recital • Grigory Sokolov


ROBERT SCHUMANN Arabeske, Op. 18

ROBERT SCHUMANN Fantasie in C, Op. 17

FRÉDÉRIC CHOPIN Nocturne in B, Op. 32 No. 1

FRÉDÉRIC CHOPIN Nocturne in A flat, Op. 32 No. 2

FRÉDÉRIC CHOPIN Sonata for Piano No. 2 in B flat minor, Op. 35


End of concert approx. 11:50 pm.

Print programme (PDF)


Grigory Sokolov, Piano


Salzburg and Sokolov • New Album: Schubert/Beethoven

posted in: Concert, General

( 14 Jan 2016 ) For more than 20 years, Grigory Sokolov refused to make any CD recordings whatsoever. For his first release (2014) after this long period, the Russian pianist chose a concert he gave at the Salzburg Festival in 2008: his album The Salzburg Recital featuring works by Mozart and Chopin was celebrated by critics worldwide and won a coveted ECHO Classic Award. Only one year later, his new album follows: Sokolov: Schubert/Beethoven, released on January 15, 2016 by Deutsche Grammphon as part of the series Salzburg Festival Documents. 

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Motive Recitals, © Robert Mertens


Grosses Festspielhaus


Robert Schumann and Frédéric Chopin: piano works by these two composers of the romantic era form two interwoven leitmotifs in the series of solo recitals, joining programmes by pianists such as Rudolf Buchbinder, Maurizio Pollini, András Schiff, Grigory Sokolov and Arcadi Volodos. Chopin’s momentous Sonata in B-flat minor with its famous funeral march is as indispensable here as Papillons and Carnaval, Schumann’s increasingly enigmatic and allusive cycles of dance and character pieces. Double-entendres and winking innuendo also animate the supposed children’s pieces Children’s Corner and La Boîte à joujoux by Claude Debussy – especially when the enchanting Salzburg Marionette Theatre adds another dimension to András Schiff’s interpretation. In addition, Rudolf Buchbinder, whose curiosity is unflagging even as he celebrates his 70th birthday this year, illuminates the relationship between Haydn and Beethoven. Arcadi Volodos, on the other hand, follows the line from Schubert to Brahms further. When Chopin, however, was asked how he prepared for a concert, his answer was: ‘I lock myself in for fourteen days and play Bach.’ The music of the great Cantor of St. Thomas forms another focus – and also provides the connection with the Ouverture spirituelle. Directly under the cupola of the Kollegienkirche, surrounded by her audience, Isabelle Faust will perform his Partitas and Sonatas BWV 1001 to 1006: central, monumental works of violin literature resounding in the heart of this sacred space. And György Kurtág’s soulful, poetically tender arrangements of Bach chorales for four-hand piano, performed by Dennis Russell Davies and Maki Namekawa, strike the perfect balance between grandeur and intimacy.

Walter Weidringer

Translated by Alexa Nieschlag