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CARNEGIE HALL PRESENTS

Nobuyuki Tsujii, Piano

Friday, May 10, 2019 8 PM Stern Auditorium / Perelman Stage
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Nobuyuki Tsujii by Giorgia Bertazzi
Please note that Murray Perahia has withdrawn from this recital due to medical reasons. Nobuyuki Tsujii will perform in his place.

The 2009 Van Cliburn International Piano Competition winner returns to Carnegie Hall for a program that showcases his “singing tone and eloquent phrasing” (London's Evening Standard). Nobuyuki Tsujii's “sensitive ear [and] light touch” (Financial Times) are ideally suited to the delicate timbres and subtle colors that make the music of three French masters so beautiful, while his virtuosity intensifies the drama of Chopin’s passionate scherzos.

Part of: Carnegie Classics

Performers

Nobuyuki Tsujii, Piano

Program

SATIE Trois Gymnopédies

DEBUSSY Images, Book I

RAVEL Sonatine

CHOPIN Scherzo No. 1

CHOPIN Scherzo No. 2

CHOPIN Scherzo No. 3

CHOPIN Scherzo No. 4

At a Glance

SATIE  Trois Gymnopédies

The leader of a group of irreverently anti-Romantic composers known as “Les Six,” Erik Satie exerted a powerful influence over a long line of composers, from Debussy and Stravinsky to John Cage and Steve Reich. The three closely related piano pieces known as Gymnopédies, after an ancient Greek ceremonial dance, are among his earliest and most enduringly popular works.

 

DEBUSSY  Images, Book I

At once radical and traditionalist, Debussy rebelled against the ponderous academic style of establishment composers like Saint-Saëns and d’Indy, urging his compatriots to return to the “pure French tradition” that he admired in the music of Rameau. Debussy’s first book of Images, composed between 1901 and 1905, combines an homage to the Baroque master with a pair of exquisitely crafted tone poems.

 

RAVEL  Sonatine

As a member of the Parisian artists’ circle known as “Les Apaches,” the young Ravel aligned himself with the gadflies who stood apart from France’s hidebound cultural establishment. The Sonatine, with its graceful lyricism and crystalline textures, anticipates the novel harmonies that would characterize his soon-to-be-finished piano cycle Miroirs.

 

CHOPIN  Scherzo No. 1 in B Minor, Op. 20; Scherzo No. 2 in B-flat Minor, Op. 31; Scherzo No. 3 in C-sharp Minor, Op. 39; Scherzo No. 4 in E Major, Op. 54

In his four scherzos, as in his contemporaneous polonaises and ballades, Chopin deliberately set out to work on a grander scale than in his earlier waltzes, mazurkas, nocturnes, and other salon pieces. Composed over a period of some eight years, the scherzos illustrate both Chopin’s innovative approach to the keyboard, and the extraordinary range and subtlety of his musical language.

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