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  • Carnegie Hall Presents
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Michail Lifits, Piano

Friday, March 23, 2018 7:30 PM Weill Recital Hall
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Michail Lifits by Felix Broede
Michail Lifits’s “cleanly articulated touch and beautiful phrasing” (The New York Times) is showcased in music of Schubert and Shostakovich. A work of great breadth with moderate tempos and a charming minuet, Schumann considered Schubert’s G-Major Sonata his finest. Shostakovich’s preludes are brief works, but are strikingly vivid in mood and character.

Part of: Distinctive Debuts


Michail Lifits, Piano


SCHUBERT Piano Sonata in G Major, D. 894
SHOSTAKOVICH 24 Preludes, Op. 34
SHOSTAKOVICH Prelude and Fugue in D Minor, Op. 87, No. 24

Salon Encores

Get together with people who love music after this Weill Recital Hall concert for a free drink and discussion with the evening's musicians.
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Distinctive Debuts is supported by endowment gifts from The Lizabeth and Frank Newman Charitable Foundation and the Stavros Niarchos Foundation.

At a Glance

FRANZ SCHUBERT  Piano Sonata in G Major, D. 894

During his tragically foreshortened lifetime, Schubert was far better known for his vocal music than for his instrumental works. Not until the 1820s did audiences and critics grow to appreciate his rich trove of orchestral and chamber masterpieces, ranging from symphonies to solo piano works. Even then, fewer than a quarter of Schubert’s major works in these genres—including just three of his 21 piano sonatas—saw the light of publication before his death in 1828. Among them was the lengthy Piano Sonata in G Major, which a contemporary listener described as “magnificent but melancholy.” The work’s characteristically Schubertian blend of lyricism and drama elicited comparisons to Beethoven.


DMITRI SHOSTAKOVICH  24 Preludes, Op. 34; Prelude and Fugue in D Minor, Op. 87, No. 24

Seventeen years and a world of bitterly disillusioning experience separate Shostakovich’s 24 Preludes, Op. 34, from his 24 Preludes and Fugues, Op. 87. The latter work—which culminates in the majestic diptych in D minor that we hear on this evening’s program—reflects on the Russian composer’s lifelong admiration of J. S. Bach’s contrapuntal mastery. While Op. 87 ranks among Shostakovich’s most intricately wrought and richly expressive creations, the 24 short preludes of Op. 34 are more wide-ranging and youthful in spirit. The composer’s biographer Laurel Fay characterizes the earlier set as “an omnibus of miniatures, ranging from the insouciant to the somber.”

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