CARNEGIE HALL PRESENTS
Sunday, April 29, 2012 | 3 PM
Stern Auditorium / Perelman Stage
Garrick Ohlsson has graciously agreed to replace Maurizio Pollini, who unfortunately must cancel his appearance due to illness.
Garrick Ohlsson has spent this season celebrating the bicentennial of Franz Liszt's birth by focusing his artistry on the composer’s indelible music. After a performance of Liszt’s music, The New York Times praised this gifted pianist for "the passion and force of his interpretation, enhanced by his clear voicing of inner lines and the dramatic juxtaposition of contrasting elements … Mr. Ohlsson’s gifts as a storyteller held the audience spellbound.”
- BACH Fantasy and Fugue for Organ in G Minor, BWV 542; (transcribed for piano by Franz Liszt, S. 463)
- LISZT Fantasy and Fugue for Organ on "Ad nos, ad salutarem undam" (after Giacomo Meyerbeer), S. 259; (transcribed for piano by Ferruccio Busoni)
- LISZT Bénédiction de Dieu dans la solitude from Harmonies poétiques et religieuses, S. 173
- LISZT Étude No. 5, “Feux follets,” from Études d’exécution transcendante, S. 139
- LISZT Valse oubliée, S. 215, No. 1
- LISZT Nuages gris, S. 199
- LISZT Mephisto Waltz No. 1 (Der Tanz in der Dorfschenke), S. 514
- LISZT Piano Piece in A-flat Major from Klavierstück
Liszt's Fantasia and Fugue on "Ad nos, ad salutarem undam," S 259 (Fuga)
Garrick Ohlsson, Piano
Liszt wrote some of the most advanced music of his day, yet revered many of his more conservative contemporaries, and predecessors like Bach, Beethoven, and Schubert. Much of his music is unique in conception, yet he wrote reams of transcriptions, paraphrases, and arrangements of other composers' music as well, so his piano transcription of Bach's organ Fantasy and Fugue in G Minor makes a fitting opening on an otherwise all-Liszt recital. The range of emotional expression in his music covers the entire gamut, from deeply introspective musings like the Nuages gris to diabolical outpourings of searing intensity like the first Mephisto Waltz. Both extremes, and much in between, will be heard at this concert.
Garrick Ohlsson's program falls neatly into two parts: large-scale arrangements before intermission; mostly shorter works, all originally for piano, after intermission. The latter group spans Liszt's entire compositional career, from the "Feux follets" (whose earliest origins date back to his teenage years) to the late pieces composed shortly before his death in the early 1880s.