Yuja Wang: Piano Works by Messiaen, Scriabin, Debussy, and Chopin
Olivier Messiaen composed his evening-length piano cycle Vingt Regards sur l’Enfant-Jésus in 1944 in occupied Paris.
Olivier Messiaen composed his evening-length piano cycle Vingt Regards sur l’Enfant-Jésus in 1944 in occupied Paris.
Yo-Yo Ma and Kathryn Stott open their recital with a lyrical set of five pieces, most of which could be mistaken for folksongs.
Mozart wrote the Rondo in D Major in 1782 as an alternate finale to his Piano Concerto No. 5, which he had composed almost a decade earlier. In the intervening years, he had quit his job in Salzburg and moved to Vienna with “a kick on my arse” from the Archbishop.
Both Sergei Rachmaninoff and Niccolò Paganini were virtuosos of their eras. There the similarities seem to end.
In 1829 Frédéric Chopin was still Fryderyk—a 19-year-old Polish pianist of some acclaim. His piano concertos became passports to success in Western Europe.
If you think Beethoven looms large over classical music today, imagine being a young composer in 1853—just 26 years after his death—and being declared his second coming.
After the first rehearsal of Brahms’s Piano Quartet in Vienna, a notoriously grumpy violinist hugged him and said, “this is Beethoven’s heir!”
Many critics hear the Fantaisie as a reflection of Poland’s plight after the failed 1830 November Uprising against the Russian Empire, a grand anthem for a national victory that never was.
The rather dry title of Brahms’s Sechs Klavierstücke (Six Piano Pieces) conceals the enormous amount of feeling held within.
Chopin wrote his mature mazurkas in exile, reinterpreting a Polish folk dance for Parisian salons. The Op. 59 Mazurkas are relatively late works, written in 1845, a decade-and-a-half after he last stepped foot on Polish soil.