Recital 5

Víkingur Ólafsson

Bach | Beethoven

Sat, 23.11.18.30No. 19512

KKL Luzern, Concert Hall

Tickets as from Mon, 5 August 2019 | 12.00 (UTC + 2)


Please book a wheelchair ticket under t +41 (0) 41 226 44 80 (10 a.m. to 5 p.m.)

Piano Festival

16.11.-24.11. 2019

 

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    Víkingur Ólafsson  piano
    Johann Sebastian Bach (1685–1750)
    Aria variata alla maniera italiana A minor, BWV 989
    Prelude and Fugue in D major, BWV 850 (from the Well-Tempered Clavier, Part 1)
    Concerto in D minor, BWV 974 after Alessandro Marcello
    Prelude and Fugue in E minor, BWV 855 (from the Well-Tempered Clavier, Part 1)
    Johann Sebastian Bach (1685–1750) / Sergei Rachmaninoff (1873–1943)
    Gavotte from the Partita for Violin Solo in E major, BWV 1006
    Johann Sebastian Bach (1685–1750)
    Invention in B minor, BWV 786
    Sinfonia in B minor, BWV 801
    Johann Sebastian Bach (1685–1750) / Alexander Siloti (1863–1945)
    Prelude in B minor after the Prelude in E minor, BWV 855a
    Johann Sebastian Bach (1685–1750)
    Fantasy and Fugue in A minor, BWV 904
    Ludwig van Beethoven (1770–1827)
    Piano Sonata in F minor, Op. 2, no. 1
    Piano Sonata in C minor, Op. 111

    He’s currently stirring up the classical music scene. Víkingur Ólafsson, proclaimed “Iceland’s Glenn Gould” by the New York Times, has created an international sensation with his performances of Bach. When his Bach album was released in 2018, it immediately topped the charts. “When Ólafsson plays, you hear Bach as if for the first time,” according to a reviewer on Bavarian Radio. “It’s hard to put into words what happens on this CD. You get the feeling that Ólafsson is placing Bach’s very soul at your feet. There is nothing left between yourself and the purest, most perfect music.” The pianist, on the other hand, who was born in 1984, has a more objective explanation for such wizardry. He considers Bach to be an unsurpassable teacher who made him understand “the democracy of music” in an unparalleled way. “No voice is secondary. Every voice counts.” For his LUCERNE FESTIVAL debut, Ólafsson will not only focus on the great Baroque master but also sets his sights on the next “titan”: Ludwig van Beethoven, whose first and last piano sonatas he will explore following intermission.

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