Scherzo, Op. 19, No. 2

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Kenner controls the instrument perfectly, still never flaunts his virtuosity — to such extent that while listening to every piece we forget about the Prelude, Op. Ballade No.

Lento con gran espressione. Beethoven Sonata quasi una fantasia, Op.

Piano Accompaniment Tracks

Nocturne in C minor, Op. Kenner achieves the highest level of transcendence He is a mystic.

He comes to us with a message which he reads as a verse from the Bible. He shares with Discography - Kevin Kenner. Kenner has you on the edge of your seat Classic FM, London.

Six Pieces, Op. 19

Exceptional, counting amongst the most subtle and expressive piano playing enjoyed in several years Peter Grahame Woolf. In one word, one can listen to this without end Tomasz Byczek. Its piano textures still feature a rich panoply of countermelodies in the mid-range riding sidecar to sumptuous melodies ringing out in the right hand above, regardless of whatever throbbing lyricism might also emerge from the cello.

One could almost believe, as has often been said, that the work is really just a big piano sonata with cello accompaniment.

Written in , around the same time as his famous Piano Concerto No. As Steven Isserlis has pointed out, many of its themes bear the stylistic imprint of Orthodox hymns, especially in their use of close intervals, their obsessive repetition of single notes, and their bell-like sonorities. The first movement begins with a slow introduction that slips in much of the thematic material that will be pursued in the following Allegro moderato.

This oft-repeated motive pervades the themes of the exposition and drives the momentum of the stormy development section, which is end-weighted, merging into the recapitulation at its climactic point of highest tension, as in the first movement of the Second Concerto. The second movement Allegro scherzando is remarkable for its emotional volatility.

Solo repertoire

Nonetheless, Rachmaninoff does not hesitate from time to time to reveal the iron fist within the velvet glove in outbursts of distinctly muscular pianism, like a lion showing his teeth. The Andante third movement is the jewel of this sonata, its quivering harmonic ambivalence between major and minor a bittersweet and vaguely exotic sonic wrapping for the bell-like repeated notes of its opening phrase. Dark and brooding, the long phrases of this elegiac movement build up to an impassioned climax before ebbing into a consoling calm of warm contentment.

Will this be the end?

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