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Behzod Abduraimov, Piano

Tuesday, December 10, 2019 8 PM Stern Auditorium / Perelman Stage
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Behzod Abduraimov by Nissor Abdourazakov
Three master composers tell compelling musical stories in this recital by Behzod Abduraimov, “the most perfectly accomplished pianist of his generation” (The Independent). Chopin’s Op. 28 Preludes are concise masterpieces that convey a tremendous range of expression, while Debussy’s gentle miniatures are tender reflections on childhood. Mussorgsky’s Pictures at an Exhibition brings paintings of his friend to life, including a grand opening promenade through an art gallery to the jubilant ringing of bells in the climactic “Great Gate of Kiev.”

Part of: Keyboard Virtuosos I


Behzod Abduraimov, Piano


CHOPIN Twenty-Four Preludes, Op. 28

DEBUSSY Children's Corner

MUSSORGSKY Pictures at an Exhibition

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission. Please note that there will be no late seating before intermission.

The Trustees of Carnegie Hall gratefully acknowledge the generosity of Mr. and Mrs. Gregg L. Schenker in support of the 2019-2020 season.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

CHOPIN  Twenty-Four Preludes, Op. 28

In an age replete with keyboard virtuosos, Chopin’s combination of bravura technique and poetic feeling defined a new school of Romantic pianism. Patterned after Bach’s keyboard preludes in all 24 major and minor keys, Chopin’s Op. 28 Preludes pack a weighty musical and emotional punch despite their extreme brevity. Franz Liszt, whose own tone poems were strongly influenced by Chopin, characterized them as “poetic preludes, analogous to those of a great contemporary poet, who cradles the soul in golden dreams, and elevates it to the regions of the ideal.”


DEBUSSY  Children’s Corner

In this beguiling suite composed for his three-year-old daughter, Debussy impishly quotes a well-known passage from Wagner’s Tristan und Isolde. Harold Bauer, who premiered Children’s Corner in 1908, confessed that he was oblivious to the allusion until the composer pointed it out to him.


MUSSORGSKY  Pictures at an Exhibition

Mussorgsky’s highly personal and innovative voice was long obscured by well-meaning editors and orchestrators who considered his unconventional harmonies and orchestrations crude. Pictures at an Exhibition and other masterpieces can now be heard in their original state, enabling audiences to see Mussorgsky not just as a Russian nationalist, but as an authentic genius who was decades ahead of his time.

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