Fiel a su cit with the Grandes Intérpretes de la Fundación Scherzo cycle, that here again the focused and untouchable Grigori Sokolov (St. Petersburg, 1950), who, considered by his proven cases, continues to retain the attributes that made him one of the most striking pianists of our time. The offer is from the same month February 23rdin the National Auditorium.
It will give us an opportunity to confront us again on the usual rigorous analysisI am confident in every component, the exhaustive writing control, the precise touch, the pedal control that allows you to extract unusual lights and recreate more colors with a wonderful sense of articulation.
It burdens the seriousness, the hermetic character, Let us notice well the flow in each momentthe design complexity, the expressiveness of Honda, the analysis of formal structures and the revelation of its most intimate secrets.
Diction, ligation, precision of examination, infallibility of attacks, homogeneity and fleshiness (permítasenos expression) of the sound, iridescent exposition so that the discussion never ends and ensimismamiento are always unattainable aspects.
During the many years he has been performing in Madrid, he has offered programs of all kinds. On this occasion we go to the obsequiar with scores of Beethoven and Schubert. From the first unusual sonata, la No. 4 Op. 7 en E flat majorand six Bagatelles de la Opus 126.
Here, in 1797, we show you the exuberance of a young composer in a soberan Cheerful The initial exhibition included 136 spaces, something unusual for the time. The unfathomable depth of asymism stands out Wide“when time and space are abolished”, in the expression of Wilhelm Kempff.
Las Bagatellesalthough it may seem strange, according to many authors, they contain all piano skills concentrated and developed often in a vaguely bipartite structure, in which habitual repetition is never such. Some, such as 1 and 3, are treated according to the unifying principle so dear to composers of continuous variation. These visionary pieces, so original at the back, with incredible detail, were published by Schott in Mainz in 1823.
Construction complexity, Honda’s expressiveness, homogeneity of sound… these are the mistakes of the great Sokolov
The session ends with Schubert’s last sonata, the D 960which in its future brings the consequences of the genius of the informal. From the hand of his melodious vein, truly unique, Schubert makes music growevolution, above all diverse, if it repeats and imitates, if it transforms ad infinitum through continuation and brilliant modulations.
Harmony explores the most confused boundaries of the territory of sufficiently extended tone, episodically awakening atonality. This surprising harmony is, as musicologist Harry Halbreich has said, “boldly functional, subtly impressionistic and deeply psychological”.
We are in front of a dense concert, with works of great depth – even if it sometimes doesn’t seem like it – that will be in hand the pianist who knows everyone.
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