JOHANN SEBASTIAN BACH • Das wohltemperierte Klavier I, BWV 846-869
End of concert approx. 21:30.
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Hans von Bülow, the great pianist and groundbreaking conductor, originated the saying that Bach’s Wohltemperierte Klavier is the pianist’s Old Testament and Beethoven’s Sonatas the New Testament. The 2014 Salzburg Festival’s soloist recitals offer both ‘Testaments’: Pierre-Laurent Aimard performs Part 1 of Das wohltemperierte Klavier and Rudolf Buchbinder presents the complete Beethoven Sonatas on seven evenings – two ‘mountain ranges’ of the piano repertoire, universal in their stylistic and compositional diversity and their powerful musical effect.
However, the magic of piano literature is contained not only in these two major cycles, but in its ability to constantly renew itself. This ability is reflected, for example, by the recital which Evgeny Kissin opens with Schubert’s Piano Sonata in D Major D. 850, conceived as an alternative to Beethoven’s keyboard dramatics; he then dedicates himself to the departure for new worlds of sound during the years preceding the turn of the century which Alexander Scriabin undertook in his Etudes Op. 8 and his Fantasy Sonata in G-sharp Minor Op. 19. The centrepiece of Grigory Sokolov’s piano recital will be Frédéric Chopin’s great Sonata in B Minor Op. 58. However, it is not only pianists who perform the 2014 Salzburg Festival’s soloist recitals. Anne-Sophie Mutter and her piano partner Lambert Orkis juxtapose two cornerstones of the repertoire, Mozart’s Sonata in E Minor and Beethoven’s ‘Kreutzer’ Sonata, with two compositions commissioned by the German violinist: the solo sonata La Follia by Krzysztof Penderecki and the Violin Sonata No. 2 by André Previn.
by Alexander Pereira and Florian Wiegand
THE PROGRAMME 2015
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