Valentin Silvestrov (*1937)
Bagatelle, op. 1/1
Claude Debussy (1862–1918)
Arabesque No. 1, Andantino con moto (from Deux Arabesques), L. 66/1
Bagatelle, op. 1/2
Erik Satie (1866–1925)
Gnossienne No. 4, Lent
Frederic Chopin (1810–1849)
Nocturne in e minor, op. 72/1
Gnossienne No. 1, Lent
“En y regardant à deux fois” (No. 1 of the second part of “Danses de travers” of 6 Pièces froides)
“La plus que lente”, waltz, L. 121
Mazurka in a minor, op. 17/4
Waltz in a minor, op. 34/2 (from Trois Valses brillantes)
“Clair de lune” (from Suite bergamasque), L. 75
“Rêverie”, L. 68
“Passer” (No. 2 of the second part of “Danses de travers” of the 6 Pièces froides)
Robert Schumann (1810–1856)
Kreisleriana, op. 16
I Extremely fast
II Very heartfelt and not too fast
III Very excitedly
IV Very slow
V Very lively
VI Very slow
VII Very fast
VIII Fast and playfully
Hélène Grimaud, one of the most poetical pianists of our time, will come to Andermatt to present a whole evening full of miniatures with fleeting moments that echo on.
Her programme comprises works by Chopin, Satie, Debussy, Silvestrov and Schumann, miniatures that unfold a play of colours and forms as if in a kaleidoscope. These pieces utilise different means to transport the listeners – as Hélène Grimaud herself says – into a contemplative state: “transparent textures, nostalgic, melancholic moods, cyclical structures. The works are simple, or rather there is a simplicity to them; it is, in a sense, immaterial music. It serves to conjure atmospheres of fragile reflection, a mirage of what was – or what could have been”.
Chopin’s Nocturne, Debussy’s “Rêverie” and “Clair de lune” conjure up a nocturnal, dreamlike atmosphere that is disrupted by dances – such as Satie’s Gnossiennes, Silvestrov’s Bagatelles and the waltzes by Debussy and Chopin. In this manner, dreamlike, night-time states and ecstatic dance intermingle to create a feeling that Hélène Grimaud has described as follows: “The almost hypnotically measured, repetitious rhythms of the Chopin and Satie dances also remain within this contemplative, meditative frame of expression, like an endless lamentation. As if in a suspended, magical trance, we travel great distances through inner landscapes without ever bursting the spell”.
After the interval, Grimaud will play Schumann’s cycle Kreisleriana, which is a key work of the Romantic piano repertoire. Its eight movements, full of dotted rhythms and themes in which the anacrusis plays a major role, evoke associations with Baroque dance music. Karl Böhmer has aptly described the fourth movement as “a phlegmatic adagio in an extended twilight state”, and the fifth as a “fantastic dance”; the various motifs of this programme thus find their culmination in Schumann’s cycle.
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