Kings Place, London
Ludwig Van Beethoven
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Thursday 05 May 2011
The Orchestra of the Age of Enlightenment prides itself on its ability to recreate the musical past, but the concert at which Beethoven premiered his fourth piano concerto was stranger than anything that could be recreated today.
Sunday 01 May 2011
Johann Rufinatscha slipped into obscurity a decade before his death.
Sunday 24 April 2011
Sunday 10 April 2011
Lubimov's peerless recording of Schubert's Impromptus contrasted the timbres of two period keyboards.
Wednesday 30 March 2011
The Prisoners’ Chorus in ‘Fidelio’ is one of the great moments in opera. After years in the dark, the grey-faced multitude are suddenly released from their cells and stumble out into the light.
Friday 25 March 2011
David Wilde follows his solo piano albums dedicated to Brahms and Schumann with these masterly interpretations of three of Beethoven's most imposing sonatas, in which he aims to show the composer's progression from despair at losing his hearing, through optimism to spiritual aspiration.
Wednesday 16 February 2011
Since Maurizio Pollini began his five-concert ‘project’ with the first half of Bach’s ‘Well-tempered Klavier’ - pianism’s Old Testament - it was appropriate that he should follow it with the last three works in Beethoven’s sonata cycle, aka pianism’s New Testament.
Friday 24 December 2010
Saturday 11 December 2010
Kinshasa, the chaotic capital of the Democratic Republic of Congo, is used to just about every noise imaginable.
Friday 10 December 2010
The second volume in Alina Ibragimova and Cédric Tiberghien's ongoing series of Beethoven violin sonatas sustains the standard of the first, with their treatment of the Violin Sonata in F major, Spring, Op 24, perhaps their most delightful vehicle yet.
Friday 10 December 2010
Monday 06 December 2010
It was extraordinary but not especially surprising how Gustav Mahler’s presence could loom so large in a concert containing not one single note of his music.
Sunday 24 October 2010
The strings are plumper than we've come to expect from recent Beethoven cycles but the Budapest Festival Orchestra can still deliver at the composer's original metronome markings.
Wednesday 20 October 2010
Pierre-Laurent Aimard may be 53, but he still comes across like the miraculous child he was when Messiaen made him his adoptive son.
Friday 08 October 2010
The Artemis Quartet cellist Eckart Runge believes Beethoven was, in relation to his era, "the most modern, provocative, experimental and boldest composer of all", who used the string quartet for innovative experimentation.
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