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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Evgeny Kissin, Piano

Sunday, May 20, 2018 2 PM Stern Auditorium / Perelman Stage
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Evgeny Kissin by Chris Lee
A poet at heart and a virtuoso of the highest order, Evgeny Kissin is one of the most magnificent pianists of any generation. A master in the grand Russian tradition, The New York Times has lauded his “blend of technical mastery and eloquent artistry” while The Telegraph has praised the “lovely limpid clarity” of his playing. Once a prodigy, now a living legend, Kissin’s recitals cannot be missed.

Part of: Keyboard Virtuosos I


Evgeny Kissin, Piano


BEETHOVEN Piano Sonata No. 29 in B-flat Major, Op. 106, "Hammerklavier"
RACHMANINOFF Prelude in F-sharp Minor, Op. 23, No. 1
RACHMANINOFF Prelude in B-flat Major, Op. 23, No. 2
RACHMANINOFF Prelude in D Minor, Op. 23, No. 3
RACHMANINOFF Prelude in D Major, Op. 23, No. 4
RACHMANINOFF Prelude in G Minor, Op. 23, No. 5
RACHMANINOFF Prelude in E-flat Major, Op. 23, No. 6
RACHMANINOFF Prelude in C Minor, Op. 23, No. 7
RACHMANINOFF Prelude in B Minor, Op. 32, No. 10
RACHMANINOFF Prelude in G-sharp Minor, Op. 32, No. 12
RACHMANINOFF Prelude in D-flat Major, Op. 32, No. 13
RACHMANINOFF Prelude in D-flat Major, Op. 32, No. 13

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

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At a Glance

LUDWIG VAN BEETHOVEN  Piano Sonata No. 29 in B-flat Major, Op. 106, “Hammerklavier”

This monumental—and notoriously difficult—sonata marked a watershed in Beethoven’s artistic development. With its soaring rhetoric and penetrating introspection, the “Hammerklavier” anticipates the musical language of the composer’s so-called late period. The centerpiece of the work is an intensely ruminative Adagio sostenuto, which German critic Paul Bekker famously called “the apotheosis of pain, of that deep sorrow for which there is no remedy, and which finds expression not in passionate outpourings, but in the immeasurable stillness of utter woe.”



Capitalizing on the phenomenal popularity of the Prelude in C-sharp Minor he wrote shortly after graduating from the Moscow Conservatory, Rachmaninoff went on to compose 23 additional preludes between 1901 and 1910. (Not coincidentally, the total of 24 equaled the number of preludes in his beloved Chopin’s Op. 28.) Like Rachmaninoff’s Second and Third piano concertos, which date from the same decade, the 10 short preludes we hear on this afternoon’s program display the composer-pianist’s trademark blend of Russian-flavored lyricism and transcendent virtuosity.

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