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Piano by Jan Lisicki: opening music

Piano by Jan Lisicki: opening music

aThe preludes were heard only in Jan Lisicki's piano recital, in the Canadian drama special in the first part of the programme, and in Frédéric Chopin's series of 24 preludes, op. 28 in the second part of the programme. The 15th piece, from D flat major, was the only one to be played twice, because the pianist, born in 1995, initially separated it from Chopin's 20 pieces in the circle of fifths in the old opera's great hall and made it an overture to his own series of preludes at the beginning of Concert: However, his approach had nothing to do with changing the imagery of “Raindrop,” the son of Polish parents presenting the work in a taut, austere, austere manner and without any pedal fog. It made sense that Johann Sebastian Bach's C major Prelude BWV 846 from the first part of the “Well-Tempered Clavier” would sound similarly sharp and distinctive.

By the twentieth century at the latest, the term overture was no longer appropriate as a generic name, but rather formed a collective description for short, free piano pieces. This becomes especially evident in the unusual selection of works. In this Pro Arte concert, Lisicki avoided Debussy, Scriabin and Shostakovich, who composed the corresponding cycles, and instead presented pieces that marked a beginning in another aspect, that of autobiographical work. In the three selected preludes from the first op., by Karol Szymanowski, the pianist clearly echoed the example of his compatriot Chopin, and in two of the four preludes, the first op., by Heinrich Gorecki, who died in 2010, his excellent technique and style. His tremendous speed allowed him to depict her in every youthful, drawing-like storm. Gorecki's pieces are cleverly contextualized because Bach's Prelude in C minor BWV 847 was no less angrily, and even the transition from Olivier Messiaen's early three preludes to Chopin's solo in C minor Op.45, which was fortunately undisturbed by applause, was powerful in tone. Air. . The bell-like, almost mechanically inexhaustible force of Sergei Rachmaninov's Overture in C sharp minor Op. 3/2 stood alone.

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