This week brings us another exciting show. With the opening performance of Franz Liszt famous b-minor piano sonata, performed by pianist Louis Lortie. We'll take a listen to Alfred Brednel's recording on Mozart's piano concert in E-flat Major, K.271, as well as a rare record featuring the recordings Mozart's piano sonata's featuring pianist Glenn Gould. This performance will be featured during the start of the 5'o clock hour.
This week we listen to Beethoven's 1st piano concerto, performed by the great pianist Arther Rubinstein. Beethoven performed as the soloist in the debut of the concerto in 1798. We take a listen to another powerful performance of Rachmaninoff's etude no. 9, op.33 and hear the wonderful sounds from Mozart piano sonata's K. 570; K. 576 "Trumpet"; K. 533 | All of which are performed by the legendary Bach pianist, Glenn Gould, who leads us into the Bach portion of the show from 4:30p to 6p.
The Friday Afternoon Classical program this week features features a special playing of Van Cliburn's historic 1958 performance of Tchaikovsky's first piano concerto–recorded just three weeks after his return from Moscow, at Carnegie Hall in New York. Selected works from J.S. Bach, for the 2nd half of the show–Bach Hour–finish our memorial day weekend show.
This week we heard pianist Pascal Rogue perform Saint-Saens piano concerto no. 2 in G minor, a brilliant performance of Rachmaninoff's 2nd Symphony in E minor by the Crackow Philharmonic Orchestra. Join us every Friday this summer, from 3pm-6pm on WKCR FM New York Afternoon Classical. We"ll be featuring some interviews and performances from some of New York City's greatest musicians throughout our upcoming shows. -S. Dalal
Still more Scriabin Piano Sonatas! We heard the 7th and 8th Sonatas this afternoon, the first having the subtitle "White Mass." The first half of the show, with the music of Glazunov, was programmed by Eric Ingram.
The first part of a survey of Scriabin's ten Piano Sonatas, works that microcosmically reflect the composer's overall compositional approach and growth from the Romantic warmth of his early language to the later, more atonal, and uniquely "Scriabinesque" voice, which, according to author Henry Miller, "sounds like... a bath of ice, cocaine, and rainbows." Here we heard Ruth Laredo's interpretation of the Sonatas.