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Concerto Repertoire | |
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The final impromptu and the subsequent song transcription "Auf dem Wasser zu singen", both in the key of A flat major, have the unusual distinction of beginning in the tonic minor key and progressing to the more radiant major. The final work of the first half, Der Erlkönig, yet again beginning with G octaves, evokes the demonic and highly dramatic nature of Liszt's sonata with its pulsating repeated notes and surging crescendi. |
Their cheerful, light character contrasts beautifully with the tragic C minor of the main two works of the programme. It is interesting to put Mozart's C minor Sonata alongside the Pathetique as it is immediately evident to what extent the former influenced the latter. I have rarely performed such a satisfying programme - the audience is delighted by hearing something new and so immediately accessible, and also by hearing two familiar classical masterpieces and their strong relationship. | ![]() |
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John Field is said to have invented the Nocturne, and his brooding C minor example sits well with my favourite nocturne of all, Chopin's sublimely beautiful Op 27 No 2. I became aquainted with the music of Julius Isserlis through Steven Isserlis, with whom I often play. I have since made an edition of all the works we could find of his, including a first edition of a little piece I found in a drawer at the house of George Isserlis, the son of the composer, and Steven's father. The Ballade, very Russian in character, has generated a lot of interest wherever I have performed it. After my favourite Chopin Ballade, I have chosen an intruiging selection of rare Chopin miniatures, including a fugue, a possible hommage to his hero Bach. My arrangement of the Polish Christmas carol highlights its inclusion in Chopin's first Scherzo. To finish I have chosen two works which were originally written for piano with orchestra. You can hear my arrangement of the Romance here |
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