In the 3 sonatas of Opus 10, Ludwig van Beethoven was making a statement about his pianistic abilities, and one thing he knew that would certainly attract attention was contrast. The composer asks for double fortes, throws in unexpected rests, and invents the heroic funeral movement that he would exploit in future symphonies. This is all in the third sonata in D Major.
Arrogant, willful and brusque, not paying attention to how he dressed or even to combing his hair, Ludwig van Beethoven wasn't a man cut out for high society. Luckily in Vienna, the upper crust loved and understood music, and with that introduction, Beethoven was exactly in the right place.
"It's harder than it looks. You practice it, and it seems pretty straight forward. But when you add the orchestra, with the scoring and rhythms, it is not as easy as it seems, in fact it is really hard!" said Martina Filjak discussing Nights in the Gardens of Spain by Manuel de Falla.
Martina has played the piece for ten years now, and recently visited the gardens that inspired the work in Sierra de Cordoba.
Originally published on Mon November 5, 2012 11:36 am
Few classical musicians these days are serious improvisers — aside from organists and early-music practitioners. But pianist Gabriela Montero is absolutely fearless when it comes to creating a new piece, right out of the air, right on the spot. At her concerts she takes requests from audience members. They can suggest a song for her to improvise on, or simply a topic of interest.
James Dick has a good relationship with the Chamber Orchestra Kremlin and conductor Mischa Rachlevsky; in fact they have performed together previously in Texas, as well as in Moscow.
"They're the finest players in Russia, either in the conservatory or playing professionally," says soloist James Dick. "It is a pleasure to work with them. I can also guarantee you haven't heard Beethoven like this before, a new orchestration that has written the wind parts out for the strings and piano. It is breathtaking!"