曲目:
LUDWIG VAN BEETHOVEN (1770–1827)
Sonata in C major No. 3 op. 2/3
A Allegro con brio
12:30
B Adagio
7:49
C Scherzo. Allegro – Trio
5:13
D Allegro assai
5:55
Bagatelles op. 119
E No. 1 in G minor: Allegretto
2:29
F No. 2 in C major: Andante con moto
1:23
G No. 3 in D major: À l’Allemande
1:54
H No. 4 in A major: Andante cantabile
1:31
I No. 5 in C minor: Risoluto
1:18
J No. 6 in G major: Andante – Allegretto
1:42
K No. 7 in C major: Allegro, ma non troppo
1:11
L No. 8 in C major: Moderato cantabile
1:37
M No. 9 in A minor: Vivace moderato
0:40
N No. 10 in A major: Allegramente
0:20
O No. 11 in B flat major: Andante, ma non troppo
2:20
JOHANNES BRAHMS (1833–1897)
PIano Pieces op. 118
P No. 1 in A minor: Intermezzo. Allegro non assai, ma molto appassionato
2:12
Q No. 2 in A major: Intermezzo. Andante teneramente
6:53
R No. 3 in G minor: Ballade. Allegro energico
4:16
S No. 4 in F minor: Intermezzo. Allegretto un poco agitato
4:01
T No. 5 in F major: Romanze. Andante – Allegretto grazioso
4:48
U No. 6 in E flat minor: Intermezzo. Andante, largo e mesto
5:30
PIano Pieces op. 119
V No. 1 in B minor: Intermezzo. Adagio
3:41
W No. 2 in E minor: Intermezzo. Andantino un poco agitato
6:09
X No. 3 in C major: Intermezzo. Grazioso e giocoso
2:00
Y No. 4 in E flat major: Rhapsodie. Alleg
Encores
FRANZ SCHUBERT (1797–1828)
a Impromptu in A flat major D 935/2 (op. 142/2)
8:54
JEAN-PHILIPPE RAMEAU (1683–1764)
b Les Sauvages from Nouvelles suites de pièces de clavecin
1:57
JOHANNES BRAHMS
c Intermezzo in B flat minor op. 117/2
5:35
JEAN-PHILIPPE RAMEAU
d Le Rappel des oiseaux from Pièces de clavecin
2:56
SERGEI RACHMANINOV (1873–1943)
e Prelude in G sharp minor op. 32/12
3:03
FRANZ SCHUBERT
f Allegretto in C minor D 915
6:16
CLAUDE DEBUSSY (1862–1918)
g Des pas sur la neige L 117/6 from Préludes, Book 1
4:32
A UNIQUE APPROACH TO LIFE AND MUSIC
In recent decades Grigory Sokolov has elected to perform solo recitals only, eschewing
concertos and probably frustrating some of his many admirers. The great Russian pianist,
who rose to fame after winning the International Tchaikovsky Competition in Moscow in
1966, aged only sixteen, also restricts his activities to central Europe because he dislikes
long flights and jet lag. Moreover, he shuns the media circus and commercial concerns
that so often drive musicians’ lives and work in the 21st century.
As he now declines to give interviews, the closest one can get to him is talking with his
manager, Franco Panozzo, who has worked closely with Sokolov for three decades. The
following portrait is based on his insights into Sokolov’s unique approach to life and
music.
Typically, one half of a Sokolov programme enters his concert repertoire in October, the
other half in February. He takes no advice and brooks no discussion when planning it: his
choices are directed simply by what he happens to find most interesting and suitable. The
only way to find out how and why he compiled this programme of early and late
Beethoven – the Sonata op. 2 no. 3 and the Bagatelles op. 119 – and two sets of late
Brahms pieces is to listen to it. He is not going to reveal anything in words. Anyone famil-
iar with his recitals, however, will know that no two performances of the same repertoire
are ever quite alike.
He stayed away from recording for a quarter century before being persuaded back,
though with strict conditions. All these performances were recorded live in concert. He