We are absolutely delighted to welcome Schaghajegh Nosrati as one of the world's top renowned pianists once again to one of our House of Culture concerts.

 

 

This recital is dedicated to the tonality F with three pathbreaking works of the »thee big B« Bach, Beethoven and Brahms. 

 

Bach's characteristic manner not to care about egoisms and himself too much for the sake of the shining art is benig represented the best by the choice of the plain title  »Clavirübung« (keyboard study) for the massive collection of pieces for keyboard instrument which belong to the most important in the whole music history. Pieces such as the Goldberg Variations are »hidden« behind the titel »Clavirübung«.

 

 

Part II of this so-called piano study collection is inaugurated by the »Concerto in Italian Gusto« (better known as Italian Concerto) in F major. As in so many other works (e.g. Partitas, English and French Suites) Bach's music presents itself as a reflection of the idea of European international understanding.

The idea of the Italian Concerto is founded in the »Concerto Grosso« with its Italian roots and which has been transformed into the solo concerto over the time of music history. The idea of representing a whole orchestra on a single keyboard instrument can be regarded as revolutionary and had a huge impact on following romantic composers such as Robert Schumann (»Concert sans Orchestre«, piano sonata no.3, Op. 14 , by the way also in f) or Charles Valentin Alkan (piano etudes op. 39 no. 4-7: »Symphony, piano etudes op. 39 Nr. 8-10: »Concerto«) and significantly paved out the way for them.

 

The piano sonata no. 23 in f minor, Op. 57, which was published in Vienna in 1807 within Beethoven's so-called »middle creative period« and which has been titled as »Appassionata« by the publisher Cranz in Hamburg explores new paths of highly virtuosic and orchestral exploration of the piano. Being embedded between the two more introverted and two-part sonatas Op. 54 (F major) and Op. 78 (F sharp major) Beethoven synergises the idea of orchestral expressivity and pianistic explosiveness and an eruptive pain which can be felt throughout the whole piece. A milestone in music history. 

 

The piano sonata no. 3 in f minor, op. 5 of the barely twenty year old young Johannes Brahms who was discovered and intensively promoted by Clara and Robert Schumann refines and develops the idea of and symphonic and orchestral sound which is being transcribed for the piano. The large symphonic approach is no only being reflected by the extension of this work to five movements but as well by a extensive and »large-area« painting of sound. As opposite pole the second movement of this work which is titled as Andante recites a love poem by Otto Julius Inkermann (pseudonym C.O. Sternau):