Seong-Jin Cho, Piano
Those who purchase stage tickets must pick them up from the Carnegie Hall Box Office (57th Street and Seventh Avenue) on the day of the concert between 11 AM and 7 PM. Since there is no late seating, ticket holders should plan to arrive one hour before the concert is scheduled to begin. At 7 PM, Carnegie Hall staff will direct ticket holders to form a queue. While a ticket guarantees onstage seating, the exact location is determined on a first-come, first-served basis. We do not allow standing at your seat anywhere in the venue. Though there is no dress code at Carnegie Hall, patrons who are seated onstage are asked to avoid bright clothing and noisy jewelry, and refrain from using heavy perfume. Given the limited space, large bags and flowers are not permitted onstage.
Performers
Seong-Jin Cho, Piano
Program
HAYDN Piano Sonata in E Minor, Hob. XVI: 34
RAVEL Menuet sur le nom d'Haydn
RAVEL Le tombeau de Couperin
LISZT Années de pèlerinage, deuxième année: Italie
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission.
At a Glance
HAYDN Piano Sonata in E Minor, Hob. XVI: 34
Although most concertgoers associate Haydn more readily with symphonies and string quartets than with keyboard music, he wrote dozens of masterful sonatas and other works for both harpsichord and piano. Many are well within the reach of amateur players, but the spitfire passagework of this delightful sonata suggests that it was written for a seasoned performer.
RAVEL Menuet sur le nom d’Haydn
Although Ravel is frequently bracketed with Debussy, at heart he was more of a classicist than his elder. In 1909, both men were invited to contribute to a French music magazine dedicated to Haydn; Ravel responded to the commission with this short, sweet-tempered minuet.
RAVEL Le tombeau de Couperin
In this suite of six short pieces, Ravel pays tribute to François Couperin and other 18th-century French composers in an unmistakably 20th-century idiom. Dedicated to soldier friends who died in World War I, the work evokes the Baroque tradition of musical memorials known as tombeaux.
LISZT Années de pèlerinage, deuxième année: Italie
The first two volumes of Liszt’s Années de pèlerinage drew on his travels in Switzerland and Italy in the 1830s. Liszt wrote that in Italy, he came to understand “those hidden relationships that link the works of genius. Raphael and Michelangelo helped me to understand Mozart and Beethoven better … Dante found visual expression in Orcagna and Michelangelo; perhaps one day he will find musical expression in a Beethoven of the future.” The sources of Liszt’s inspiration in this musical album range from artworks to poetry and folk songs.