Saturday, 5.2.2022
7.30 pm

hélène grimaud


The star pianist Hélène Grimaud will play music from Claude Debussy to Erik Satie, Frédéric Chopin and Robert Schumann.

Prices: CHF 160 / 125 / 90 / 65


Valentin Silvestrov (*1937)
Bagatelle, op. 1/1

Claude Debussy (1862–1918)
Arabesque No. 1, Andantino con moto (from Deux Arabesques), L. 66/1

Valentin Silvestrov
Bagatelle, op. 1/2

Erik Satie (1866–1925)
Gnossienne No. 4, Lent

Frederic Chopin (1810–1849)
Nocturne in e minor, op. 72/1

Erik Satie
Gnossienne No. 1, Lent

Erik Satie
“En y regardant à deux fois” (No. 1 of the second part of “Danses de travers” of 6 Pièces froides)

Claude Debussy
“La plus que lente”, waltz, L. 121

Frederic Chopin
Mazurka in a minor, op. 17/4

Frederic Chopin
Waltz in a minor, op. 34/2 (from Trois Valses brillantes)

Claude Debussy
“Clair de lune” (from Suite bergamasque), L. 75

Claude Debussy
“Rêverie”, L. 68

Erik Satie
“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

About the programme

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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