VADYM KHOLODENKO
Synopsis
As part of the Piano Concerts series in its Chamber Music Cycle, the Auditorio de Tenerife presents a recital by Vadym Kholodenko, performing Beethoven, Liatoshinski and Liszt.
Programme
Ludwig van Beethoven (1770-1827)
Piano Sonata No 29, Op 106 in B flat major, Hammerklavier
Allegro
Scherzo: Assai vivace
Adagio sostenuto
Largo – Allegro risoluto
-Intermission-
Borís Liatoshinski (1894-1968)
Three Preludes, Op.38
Franz Liszt (1811-1886)
Études d’exécution transcendante d’après Paganini, S. 140
Étude No. 1 en sol menor (Andante)
Étude No. 2 en mi bemol mayor (Andante capriccioso)
Étude No. 3 en sol sostenido menor (“La Campanella”)
Étude No. 4 en mi mayor (Andante con moto)
Étude No. 5 en mi mayor (“La Chasse”)
Étude No. 6 en la menor (Quasi presto)
About the pianist
Programme notes
Beethoven:
Abounding in technical challenges and instances of compositional bravura (above all, the fugue that forms the centrepiece of the finale), the ‘Hammerklavier’ is the longest of Beethoven’s 32 piano sonatas. Its four movements are conceived on a scale that seems closer to the world of the symphony. Although the score was published in both London and Vienna in 1819, the sonata’s fiendish demands meant that it would not be heard in public until long after its composer’s death in 1828.
Liatoshinski:
Born in Ukraine in 1895, Liatoshinski would spend most of his life in Kyiv, where he moved to study law and music in 1913. In the 1920s, Lyatoshinsky had explored an inventive and original musical style that was close to expressionism in spirit. The 3 Preludes Op. 38 were written during the Second World War when he was evacuated to the city of Saratov. Each prelude is prefaced by a short quotation taken from the work of the Ukrainian romantic poet, Taras Shevchenko, that gives a clue to its mood. Indeed, the three movements form a sequence that traces a journey from introspection to something approaching optimism.
Liszt:
Liszt raided Paganini’s collection of 24 Caprices for solo violin, as well as two of his six violin concertos, translating their themes into exhilarating showpieces for his own instrument. The six studies – which together form a very loose suite – were composed in 1838, not long after Liszt had dazzled Paris with his interpretation of Beethoven’s ‘Hammerklavier’. He made a revised edition of them in 1851, tempering some of the difficulties that were such a feature of the original version you will hear tonight. The most famous is probably No. 3, nicknamed ‘La campanella’ (‘The little bell’), and No. 5 (‘La chasse’) evokes the sound of a hunt. Elsewhere, Liszt employs trills and arpeggios, imitating – and gleefully surpassing – the sound of Paganini’s violin. No. 6 is a set of variations based on the same theme that would later captivate Brahms and Rachmaninov, as well as composers ever since.
Tickets
Access to the hall is not permitted once the doors are closed for the event to begin.
Access is only allowed to those over five years of age.
For further information, please check the general purchase terms and hall conditions.
If you have any questions while purchasing your tickets, please contact taquilla@auditoriodetenerife.com or call 922 568 625 from Monday to Friday, 10 a.m. to 2 p.m., except on public holidays.
