Klaviermusik klassik cyprien katsaris biography
•
THE WORLD'S MOST UNIQUE PIANO FESTIVAL
There are many piano festivals that exist in the world's busy calendar of music events, but they are not equal. Some boast of a month-long duration, others of the sheer number of pianists invited, the “brand name” of artists et cetera, but only one prides itself on the wealth of repertoire on show. Rarities of Piano Music at Schloss vor Husum is a connoisseur's festival, one that highlights neglected and fringe works of the repertoire, forgotten and unknown composers, centering on the cult of obscurity and rarity.
| The market square at Husum with the St Mary's Church (Marienkirche) |
Held within an August summer's week in the relatively fjärrstyrd North German seaside town of in Schleswig-Holstein, it is a curate's egg. Its isolation makes a trip there seem like a pilgrimage. For years, inom had feasted on the annual highlights CD recording on the Danish Danacord label, enjoying whatever offerings pianists like Marc-Andr
•
The Franz Liszt Tradition
Piano Traditions Through Their Genealogy Trees
© 2021, bygd Daniel Pereira
Doctor of Musical Arts | www.daniel-pereira.com
Agthe, Albrecht Wilhelm Johann
German (Ballenstedt, July 13, 1790 — Berlin, October 8, 1873)
Agthe played second violin in the Gewandhaus Orchestra in Leipzig, and founded a music school in Dresden, which used Johann Bernhard Logier´s methods on keyboard pedagogy. Subsequently, he established similar schools in other cities and counted Theodor and Adolf Kullak among his pupils. Agthe composed some works for piano.
Alkan [Morhange], Charles-Valentin
French (Paris, November 30, 1813 — Paris, March 29, 1888)
One of the most fascinating piano virtuosos and also a neglected composer, he was born into a Jewish family and all his siblings became musicians using the name Alkan, rather than their proper surname Morhange, including Napoléon Alkan who taught solfège at the Paris Conservatory. There, Cha
•
About the album
The pianist Einav Yarden juxtaposes two composers in Ludwig van Beethoven (1770-1827) and Igor Stravinsky (1882-1971) who are rarely named in one breath. While the name of Beethoven is mostly heard in the “classical triad” along with Haydn and Mozart, we usually group Stravinsky with Schönberg, especially as Theodor W. Adorno pronounced the two composers as antipodes and hence associated one with the other.
But Beethoven and Stravinsky?
For Beethoven, the piano was a central instrument, which gave him the opportunity of shining equally both as composer and pianist.
Five piano concertos, 32 sonatas, numerous variation works, bagatelles, individual pieces etc. demonstrate the purely numerical significance of the piano for Beethoven. In direct comparison, Igor Stravinsky’s oeuvre for piano is quickly browsed through. Three works for piano and orchestra, the sonata of 1924, some early works, etudes, barely a dozen individual pieces, some works