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luís soares

Blog do escritor Luís Soares


NEC student Delvan Lin performs the first of the two pieces that comprise Frédéric Chopin’s Two Nocturnes, Op. 62: No. 1 in B Major, Andante. This performance was given as part of the 2022 Marion Rubin Berman Piano Honors Concert, this year bearing the subtitle: Night.


Mozart: Piano Concerto No. 20 | Stefan Vladar (Piano) & Kammerorchester Carl Philipp Emanuel Bach

It is considered Mozart’s first symphonic concert and is an era-defining masterpiece. Pianist Stefan Vladar and the Kammerorchester Carl Philipp Emanuel Bach under the baton of Hartmut Haenchen performed Mozart’s Piano Concerto No. 20 in D minor, K. 466 at the Konzerthaus Berlin in 2005.

(00:00) I. Allegro
(12:49) II. Romanze
(21:02) III. Rondo. Allegro assai

Between 1784 and 1786, Wolfgang Amadeus Mozart (1756-1791) wrote twelve piano concertos, many of which are significant in the history of the genre. He completed his Piano Concerto No. 20 on February 10, 1785, and it was premiered in Vienna one day later, with Mozart himself playing the solo part.

Piano Concerto No. 20 is the first of only two piano concertos by Mozart in a minor key. It shares the key of D minor with works such as the Requiem and the overture from Don Giovanni. In Mozart's music, D minor stands for the highest levels of drama and expressiveness. The D minor concerto is considered Mozart’s first “symphonic concerto”. This had already been hinted at in his nineteenth piano concerto with large, independent orchestral passages and the solo piano as an occasional accompanying element.

The main movement ends in a Piano, which is rare in Mozart’s pieces and at first glance does not fit the dramatic character of the work. Rather, it contains a large-scale interlinking of the movements’ content. The resolution of the musical conflicts sparked takes place in the two further movements of the concerto. This approach of an overall artistic concept was to be pursued prevail to perfection in the following musical eras.

With the Piano Concerto No. 20 at the latest, Mozart overcame the obligation of music to follow the entertainment ideals of its time and he found individual artistic freedom – another reason why Concerto K. 466 is a special work.


With Katia and Marielle Labèque on fortepianos, the Concerto in C major for two harpsichords, strings and basso continuo (BWV 1061) by Johann Sebastian Bach is played here on period instruments by the ensemble Il Giardino Armonico under the baton of Giovanni Antonini. What is different here is that, instead of harpsichords, the Labèque sisters play fortepianos. The concert took place in 2000 at the Musikverein in Vienna.

00:00 I. without tempo designation
07:15 II. Adagio ovvero Largo
11:56 III. Fugue

The 13 concertos that Johann Sebastian Bach (1685 - 1750) wrote for one or more harpsichords with orchestral accompaniment are significant in music history. In a sense, they mark the beginning of the story of the piano concerto, which was then developed by the Bach sons. In almost all of the harpsichord concertos, Bach drew on his own earlier works and arranged them for this keyboard instrument, which was popular at the time. The harpsichord concertos were written for the Collegium Musicum in Leipzig, a student orchestra that Bach led from 1723 and with which he held regular concerts in a coffee house.

The Concerto for two harpsichords, strings and basso continuo in C major, written between 1732 and 1735, was probably originally meant for two harpsichords only. This, at least, is suggested by the fact that the string orchestra has no independent role. In the first and third movements it only doubles the harpsichord part, in the middle movement the two keyboard instruments even play without accompaniment.

The special feature of this concerto is that Katia and Marielle Labèque play the harpsichord part on fortepianos. Thus, although the sound seems historical, it has a much sharper profile. A delight for the two virtuosic pianists!

Leif Ove Andsnes: Tiny Desk (home) Concert

Tom Huizenga | April 8, 2022

The Norwegian pianist Leif Ove Andsnes is binging Mozart. He's just released his second double album in a row of the composer's piano music, and for this very special Tiny Desk performance, he takes us inside Mozart's own home in Vienna, just steps away from the medieval St. Stephen's Cathedral and a couple blocks from a McDonald's.

Mozart might have appreciated the convenience of the fast food chain, as the years he spent in this two-floor, four-bedroom apartment (from 1784 to 1787) were a non-stop frenzy of activities. Andsnes says the composer threw gambling parties, taught students and, above all, composed some of his most groundbreaking music in this house, including the two works heard in this recital.

Andsnes begins with four minutes of radiant joy and virtuosity. The D major Rondo showcases not only Mozart's own skills as an unrivaled keyboardist, but also his genius as a composer with a bottomless bag of tricks to play with the music's principal theme.

The following Fantasia in C minor, composed one year earlier, in 1785, couldn't be more different. At three times the Rondo's length, it begins in a foreboding tone, with heavy, darkly colored chords, sounding perhaps like Beethoven in a bad mood. But the clouds soon open to rays of sunshine in melodies only Mozart could create, including a recurring passage of intense delicacy and yearning, which Andsnes delivers with the sensitivity of a lover's whisper. In its many fascinating mood swings, the piece feels like Mozart simply sat down in these rooms and improvised his mixed emotions. And thanks to Andsnes, we can catch a vibe of what that might have sounded like.

Mozart: Rondo in D Major, K. 485
Mozart: Fantasia in C Minor, K. 475

Leif Ove Andsnes: piano

Video and audio: Anthony Jacobson, Perdurabo Film
Recorded at: Mozarthaus Vienna

Pires, Mendelssohn, Mozart, Schumann

La pianiste Maria-João Pires s’associe à l’Orchestre Philharmonique de Monte-Carlo pour donner au Festival de Pâques d’Aix-en-Provence un concert rythmé par la musique de Mozart, Mendelssohn et Schumann.

La pianiste d’origine portugaise Maria-João Pires est de retour à Aix-en-Provence pour y jouer le Concerto pour piano n° 9 en mi bémol majeur de Mozart. Grande connaisseuse du répertoire mozartien, la soliste livre sur la scène du Grand Théâtre de Provence une interprétation vive et épurée de cette œuvre célébrée dès sa création pour son inventivité.

Fidèle à l’esprit d’ouverture du Festival de Pâques d’Aix-en-Provence, ce concert fait également la part belle à la musique romantique. Sous la direction de Kazuki Yamada en effet, l’Orchestre Philharmonique de Monte-Carlo interprète l’ouverture du Songe d’une nuit d’été de Felix Mendelssohn et la Symphonie n° 1 en si bémol majeur de Robert Schumann.

Felix Mendelssohn - Ein Sommernachtstraum (Le Songe d’une nuit d’été), ouverture, op. 21
Wolfgang Amadeus Mozart - Concerto pour piano n° 9 en mi bémol majeur « Jeunehomme », K. 271
Robert Schumann - Symphonie n° 1 en si bémol majeur, « Le Printemps », op. 38

Concert filmé le 10 avril 2022 au Grand Théâtre de Provence, Aix-en-Provence.

Mais logo na Gulbenkian

0:00 : Brahms - Ballade N°1
5:27 : Liszt - Dante Sonata Saint-Saens
24:39 : Saint-Saens - Danse Macabre

ARTE Concert invite à son Piano Day le jeune virtuose Alexandre Kantorow. Ce dernier en profite pour livrer une interprétation vibrante de Saint-Saëns et de Liszt.

Alexandre Kantorow est un pianiste surdoué. Fils de musiciens, il commence à jouer à 5 ans, remporte les premiers prix des concours qu’il passe dès 13 ans, devient concertiste pour les Folles Journées de Nantes et de Varsovie à 16. Rien d’étonnant donc à ce que, du haut de ses 23 ans, Alexandre Kantorow ne compte déjà plus ses trophées. Premier pianiste français à obtenir la médaille d’or du prestigieux Concours Tchaïkovski, il a notamment remporté en 2020 deux Victoires de la Musique Classique : enregistrement de l’année (pour les concertos n°3, 4 et 5 de Saint-Saëns) et soliste instrumental de l’année. Adoubé par la presse, le pianiste voit chaque sortie d’album accompagnée des plus grandes récompenses. Alexandre Kantorow, en plus de nourrir une réelle passion pour Brahms, manifeste aussi un grand intérêt pour la musique contemporaine. Plusieurs compositeurs ont d’ailleurs déjà écrit pour lui. Pianiste tout-terrain, il livre aujourd’hui pour vous une interprétation puissante et habitée de Saint-Saëns et de Liszt.

Programme :
Brahms - Ballade N°1 Liszt - Dante Sonata Saint-Saens - Danse Macabre

Abdullah Ibrahim: Tiny Desk (Home) Concert

Bob Boilen | March 9, 2022
It’s less a concert and more witnessing a master thoughtfully creating an atmosphere, a vibe. And for 13 short minutes, I feel seated in Abdullah Ibrahim’s home in Chiemgau, Germany, witnessing seven decades of experience slowly dripping from his fingers and touching my soul.

Abdullah Ibrahim, now 87, has witnessed the horrors of apartheid. He grew up in South Africa and composed what would become known as the “anti-apartheid anthem,” “Mannenberg.” Nelson Mandela called him “our Mozart.” He also successfully made music under the name Dollar Brand, and worked with jazz legends including Duke Ellington, Max Roach, Don Cherry and Archie Shepp. In 1968, he converted to Islam and changed his name from Dollar Brand; more recently, he became an NEA Jazz Master. In my 18 years directing All Things Considered, I’d often reach for his music to play between news stories to give the audience a chance to think and reflect. His music is like that; it’s mind-opening.

And here he is seated at his piano, his white hair luminous, his fingers delicate, while he reflects on the past and helps clarify the present. The music is from his newest album Solotude, a recording made to an empty concert hall in southeast Germany during the 2020 lockdown, which for me became a source of calm when it was released toward the end of 2021. To witness this Tiny Desk (home) concert, I suggest you take these next 13 minutes, turn off your distractions and discover the strength in delicate reflection from a gentle man who has some much to share.

“Blue Bolero”
“Signal On The Hill”
“Once Upon A Midnight”

Abdullah Ibrahim: piano

Director / Director of Photography: Tobias Corts
Sound Engineer / Edit / Grading: Florian Epple

Producer: Bob Boilen
Video Producer: Joshua Bryant
Audio Mastering: Josh Rogosin
Tiny Production Team: Bobby Carter, Kara Frame, Maia Stern, Ashley Pointer
Executive Producer: Keith Jenkins
Senior VP, Programming: Anya Grundmann

Contrapunctus 14, BWV 1080, 19

Daniil Trifonov – Bach: Contrapunctus 14, BWV 1080, 19 (Compl. by Trifonov)

Daniil Trifonov is intrigued by Bach’s attempts to base the work on the Fibonacci sequence and the golden ratio, but observes that the result is “far more than a scientific experiment: as always with Bach, he managed to make music of indescribable beauty and emotion”. Trifonov’s imaginative interpretation captures the sense of the work as a cycle, treating it as a living, organic whole. This chimes with the inspiration he takes from spending time in nature, whether hiking or practising Qigong, a form of meditation that values the healing energy of trees. “And the tree is a good metaphor for The Art of Fugue’s overall structure,” he notes. “The theme is the trunk, the fugues are the branches, all the permutations within each fugue are the leaves…”

Bach did not live to finish The Art of Fugue’s final contrapunctus, and a number of musicians have attempted conjectural completions. For this recording, Trifonov, himself an accomplished composer, has created a seamless, stylistically respectful conclusion worthy of Bach’s genius. It reflects the extent to which he has absorbed and internalised every nook and cranny of Bach’s valedictory masterpiece.