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The Guardian
a day ago
- Entertainment
- The Guardian
A man of sense and wide sensibilities, Alfred Brendel was simply the pianist of pianists
Alfred Brendel would have scorned the suggestion he was the world's leading pianist. He would have dismissed such an accolade as banal, journalistic and ignorant. He would, of course, have been right. Piano playing, he once said, was never sufficient, even when it was faultless. Yet, for a generation of musicians, especially in Britain, where he lived the second half of his long life, this dismissal of his own greatness could itself be dismissed as false modesty. When London's Royal Festival Hall, still at that time the capital's most cherished classical music large venue, reopened after a long renovation in 2007, the choice of its first recitalist was a no-brainer. For his legions of admirers, Brendel was always the one. He was the pianist whose recitals they would never miss, the one whose recordings they felt came closest to definitiveness, and he was the artist whose performances seemed unmatched in their objectivity, balance and colour, seriousness and depth. For the listeners of his era, he was, quite simply, the pianist of pianists. Brendel, who died this week at his London home at the age of 94, was never best known for his piano pyrotechnics. In performance, he eschewed glitz. While some keyboard virtuosi of earlier times have been noted for their performance mannerisms – Horowitz wiping the piano keys with his handkerchief in mid-performance, Rubinstein playing to the gallery with his exaggerated arm movements – Brendel was straight-backed, concentrated, almost severe. That was the deal. It was the music, not his personality, that the audiences came to hear. Brendel's technique was of the highest order, but it was always at the service of the music and the listener, not of his own reputation. His piano sound was rich but never overdone, his readings authoritative but never pompous. His performances always had a well-articulated shape and direction, but they were made up of a thousand small choices and touches about phrasing, contrast and tone. He was never an obviously fast player, but as a listener it was hard to keep up with the cascade of detail that always underpinned the whole. He was known for his authority in the works of the Austro-German masters – Mozart, Beethoven and Schubert in particular – all of them reliable public favourites. As he grew older, his programmes rarely strayed far beyond this Viennese canon, though Haydn, Liszt and Schoenberg were always important to him too. Chopin and Schumann became increasingly rare inclusions. But Brendel was not, as some insist, the last upholder of the central European piano tradition. For one thing, he always kept up with contemporary music. He revered Harrison Birtwistle. When the Guardian was looking for a new chief music critic in the early 1990s, it was he who recommended Andrew Clements for the job on the grounds of his commitment to new music. He saw himself as a cosmopolitan who had simply ended up in the UK (he had a house in Hampstead and another in Dorset). Yet the fact that he chose to live here was undeniably flattering, and the compliment was repaid by the fierce and almost reverential loyalty of British audiences. As with Yehudi Menuhin from an earlier generation, and Daniel Barenboim during his young adulthood, Britain embraced Brendel with undisguised affection. He was always interested in listening to other musicians, which is more than can be said for all soloists. One sometimes saw him at other pianists' recitals, notably those of the late Maurizio Pollini, and of former pupils including Paul Lewis and Imogen Cooper. His collaborations with singers were rare, but those of us who heard him accompanying Dietrich Fischer-Dieskau in Schubert's Winterreise cycle (on the stage at Covent Garden in 1985) were rewarded with a partnership of equals. Piano playing was, of course, the thing he did best and which gave him his fame and his income. But it was only ever one part of his very varied and even eclectic cultural life. Brendel had a vast and individual intellectual hinterland. He was a writer, a poet and a painter as well as a musician, a teacher, a public intellectual and a man of wide sensibilities. He was famously a lover of the absurd. His poetry showed the influence of the Munich nonsense writer Christian Morgenstern, while his cultural writing sometimes echoed the great Viennese critic Karl Kraus. Although he was not himself Viennese (he was born in the northern Moravian part of present-day Czechia), the Austrian capital drew him in, not merely because he played so much music by Vienna-based composers. Vienna was the city where he chose to give his farewell concert in 2008 – he played Mozart's early E flat piano concerto K271. At his home, Brendel had a drawing of a pianist laughing fit to burst in a concert hall filled with intense and serious listeners. This may explain why there was always something both of the undertaker and the clown in his platform appearance. I never met him socially but, while wheeling one of my children in a buggy one winter's day, I once encountered him walking purposefully across Hampstead Heath, carrying a brand new blue bucket with its price tag attached. Why the bucket? Where could he be taking it? He grinned as we passed one another. Perhaps it was just another private joke. But it seemed, now as it did back then, to embody the duality of the remarkable artist we have just lost.
South China Morning Post
a day ago
- Entertainment
- South China Morning Post
Russian pianist Mikhail Pletnev plays subdued Beethoven and colourful Grieg in Hong Kong
The secret to a good story is, as they say, in the telling. Legendary Russian pianist Mikhail Pletnev wasted no time telling his tale to a packed audience in Hong Kong on June 17, launching into the Shigeru Kawai grand piano the very second he sat down. His recital was made up of two clearly opposed halves. The first saw his subdued yet thoughtful expressions of pathos and beauty in two of Beethoven's pillar sonatas, while a vivid depiction of Nordic nostalgia in a selection of Grieg's Lyric Pieces came after the intermission. The multifaceted musician-composer, whose distinguished international career began when he won first prize in the 1978 Tchaikovsky Competition, showed he had some real doozies up his sleeves despite exercising considerable emotional restraint in the first piece, Beethoven's Piano Sonata No. 8, the 'Pathétique'. Indeed, those expecting more outward expressions of the dramatic, agitated aspects of the music may have felt like they showed up at the wrong wedding. Expressions of pathos in the Grave introduction were more introspective in his hands, and any showy displays in the ensuing Allegro di molto con brio were equally shunned.
Malay Mail
a day ago
- Entertainment
- Malay Mail
27th Bangkok Festivals: A World-Class Spectacle in Thailand!
Experience the legendary 'Plácido Domingo' live in Thailand for the first time—alongside an Indian epic, dazzling Chinese ballet, operas, and jaw-dropping acrobatics Tickets Now Available! 10% discount per person for selected shows (cannot be combined with other promotions) Priority seating reserved Limited-edition souvenir BANGKOK, THAILAND - Media OutReach Newswire - 20 June 2025 -is making a grand comeback, bringing 14 stunning performances from over 10 countries across the year's lineup is nothing short of legendary—with theof, the iconic opera superstar. And that's just the beginning. Brace yourself for– an epic tale from India,– breathtaking Chinese ballet,and– powerful operatic masterpieces, dazzling Chinese acrobatics, a high-energy dance-meets-tech show from France and much more., at the Thailand Cultural Centre's Main Hall. Tickets go on sale, with early bird discounts for one month and an exclusiveavailable for early access and of this year's monumental highlights, Plácido Domingo, the legendary opera icon and one of, will perform in Thailand for the first and only time. With over 150 operatic roles in 4000 performances and 12 Grammy awards, Domingo has redefined opera for global audiences and remains one of the most influential figures in classical music history. This historic night becomes even more extraordinary as he shares the stage with two stars in classical music:, the radiant American soprano captivating international stages, along with, the groundbreaking Italian conductor hailed as one of the most powerful women in classical music. Together, they will create an unforgettable operatic masterpiece; this is more than a concert; it is a piece of musical the first time in Thailand, audiences will witness the grandeur of the Mahabharata, India's greatest epic reimagined for the global stage. "Mahabharata: 18 Days, Dusk of an Era" is a live, large-scale performance by Prabhat Arts International, founded in 1946, a renowned artistic institution known for breathing new life into ancient literature through modern artistic visually stunning production brings to life the 18-day war between the Pandavas and Kauravas, the cosmic clash of dharma (righteousness) versus adharma (unrighteousness) with a cast of over fifty performers. The show is a gripping infusion of Indian dance, drama and live dialogue with elaborate costumes brought out through levitation, aerial stunts, martial arts and immersive visual taking center stage is the breathtaking ballet interpretation of A Dream of Red Mansions, one of the Four Great Classical Novels of China, originally penned by Cao Xueqin in the 18th century. Often called "a mirror of Qing Dynasty society," the story remains one of the most poignant literary works in Chinese year, the acclaimed National Ballet of China reinterprets the tale through the elegance of Western ballet, capturing themes of love, longing, and the inevitable decline of a noble family. More than eighty dancers will bring the tragic love triangle to life with expressive choreography and powerful stage production arrives in Bangkok with six full containers of set pieces, lighting, and lavish costumes from Beijing, an awe-inspiring fusion of Chinese storytelling and Western ballet tradition, delivered with grace and grandeur on a single ready for an unforgettable second half of The Festival as Russia's prestigious Samara Opera & Ballet Theatre takes the stage in Bangkok with 4 spectacular productions. Renowned for its breathtaking performances and grand-scale productions, the company brings a diverse lineup ofopera and ballet masterpieces to Thai audiences. Leading the charge are two legendary operas: Tosca and Aida, timeless tales of love, loss, and power brought to life with stunning sets, soaring vocals, and a cast of over 250 magic continues with a brand-new production of The Nutcracker made just for their visit to Thailand, Tchaikovsky's beloved Christmas ballet. Rounding off their lineup is the emotionally charged contemporary ballet, a dramatic reflection on power, identity, and the courage to embrace one's true self, showcasing the precision and grandeur of Russian ballet at its finest and the only theatre in the world who performs this excitement doesn't stop there. This year's festival brings high-octane energy and universal appeal with China National Acrobatic Troupe, performing in celebration of the 50th anniversary of Thai–Chinese diplomatic relations. With over 50 acrobats and more than 74 international gold medals, prepare to be amazed by gravity-defying stunts and jaw-dropping feats of step into the future with, a groundbreaking French production that merges street, hip-hop, roller blading and contemporary dance with state-of-the-art visual technology. Featuring 3D graphics, projection mapping, and interactive special effects, this performance is a visual spectacle that will leave you festival also features an eclectic lineup of international performances, namely,, a vibrant journey through Cuban dance from past to present,, a contemporary flamenco performance from Spain, pulsing with passion, a Gatsby-style dance drama paying tribute to female strength and the pursuit of dreams, a percussion show that redefines rhythm and movement, and, one of Europe's top orchestrasand a Grammy recipient, will deliver classical brilliance and also features 29 year old American pianistfrom the Los Angeles 27th International Festival of Dance & Music is made possible with generous support from the both public and private sector, including AXA Insurance, Bangkok Bank, BMW Thailand, Indorama Ventures, Singha Corporation, Supalai, Swissôtel Bangkok Ratchada, Thai Union Group, Tourism Authority of Thailand, and the Ministry of your tickets early and get exclusive access to Platinum Packages, a premium experience crafted for true fans of the arts. EnjoyBangkok Bank credit card holders receive up to 20% off through the Early Bird period, making this the perfect time to indulge in a world-class cultural miss this once-in-a-lifetime opportunity to witness artistic excellence from around the world. Tickets on sale from June 14 to July 14, 2025, at all Thai Ticket Major branches and at . For full program details,visit: Hashtag: #BangkokFestivals The issuer is solely responsible for the content of this announcement. About Bangkok Festivals Established in 1999, Bangkok's International Festival of Dance & Music is Asia's largest and most prestigious performing arts festival. Featuring top-tier talent from across the globe in opera, ballet, orchestral music, contemporary performance, and cross-cultural showcases, the festival strives to elevate the Thai arts scene and provide unforgettable experiences for local audiences. Follow us for updates and news at
Times
2 days ago
- Entertainment
- Times
Alfred Brendel and other great pianists I have met (and what they taught me)
I suspect I'm not the only classical music fanatic to measure my life not by decades but by revered performers who are now no longer with us. In my case the list is mournfully long, and another name was added this week: the pianist Alfred Brendel, who died at 94, though he stopped playing in public 16 years ago. One of the best perks of my job is that I don't just get to hear legendary pianists, I meet them too. I have to say, quite a few were eccentric, bordering on bonkers. Vladimir Horowitz always had mental health issues, but when I met him in 1986, during his 'comeback' tour at the age of 83, he seemed completely gaga. His wife (Wanda Toscanini, terrifying daughter of terrifying conductor) constantly butted in to answer my questions. I thought: 'How on earth is this tragically senile old fellow going to play a recital in the Royal Festival Hall?' Two days later I had my answer. Horowitz's famous 'flat fingers' — the antithesis of what every piano tutor teaches — skimmed the ivories at such mercurial speed that 3,000 people were on their feet cheering every piece. Music is indeed the last thing to go when the mind disintegrates. • Read more classical reviews, guides and interviews He wasn't the only pianist to produce jaw-dropping performances while struggling mentally. John Ogdon, the most phenomenally virtuosic British pianist of the 1960s, developed such acute bipolar disorder that he was eventually confined to a psychiatric hospital. Maurizio Pollini had a nervous breakdown in early adulthood, when (like many prodigies) he was pushed too fast into a relentless whirl of concerts. Then he wrapped himself in a protective cloud of such impenetrable reticence that interviewing him was like trying to tickle a hedgehog. The great Soviet pianist Sviatoslav Richter went through a phase when he would perform only if his 'friend' — a pink plastic lobster — was waiting in the wings. And the magnificent Chilean pianist Claudio Arrau (whom I met in his Long Island home, which was crammed with African, Etruscan and pre-Columbian artefacts) sought out psychiatric help throughout his life, but particularly after a humiliating episode in 1950s Australia, when he was plastered all over the newspapers for picking up a man for sex, only to find that the guy was a police officer whose job was to trap homosexuals. That Arrau had the resilience to resurrect his pianistic career after that speaks volumes about his character. • Alfred Brendel obituary: legendary pianist with an anarchic spirit I run through this catalogue of complex geniuses to put Brendel in context. Of all the great 20th-century pianists I met, he seemed the most grounded and sane. Perhaps that was because he never went through that pressurised child prodigy upbringing. The son of an itinerant Austrian hotel manager, he hardly heard — let alone performed — music during his wartime childhood. Indeed, he was conscripted to dig trenches. That early experience, I believe, imbued him with two lifelong beliefs. One, he told me, was that 'the world is grotesque and absurd'. The other was that, 'in an absurd world, manners require one to be graceful'. Those beliefs, I think, accounted for how he interpreted such composers as Liszt, Beethoven and Brahms. He could grapple with the 'grotesque' in their music — the psychic storms when the pianist seems to be locked in battle with some beast inside the Steinway. But he was also alive to moments of absurdist humour. 'If you can't make an audience laugh at the end of Beethoven's Piano Sonata Op 31 No 1,' he told me, 'you should be an organist.' (I don't think he knew I play the organ.) And everything Brendel did, in music and life, was governed by that second belief: that 'manners require one to be graceful'. I think by graceful he meant civilised — always being curious intellectually and expressing yourself (whether in music or words) coherently and courteously. Just as he regarded a 'steady temperament' as the key to a long performing career ('Being a depressive doesn't really help,' he said, when we were discussing a pianist mentioned above), so he preferred to think his way to the core of a piece of music rather than skating across it with razzle and dazzle. Indeed, he deeply distrusted music that too easily tugged at the heartstrings. Rachmaninov, he declared, was 'music for teenagers'. Above all Brendel was an intellectual, as curious about literature, the visual arts and philosophy as about music. I cannot imagine him living anywhere except where he did: in one of those quiet Hampstead lanes, meandering from the bookshops to the heath, that have been the haunt of literati since the days of Keats. Indeed, Brendel published several collections of his own poetry. Thinking he had taken up writing late in his life, I asked him when he had written his first poem. 'When I was a teenager I wrote 124 sonnets,' he replied, in a tone that said 'doesn't everyone?' No one is irreplaceable, even great musicians. Brendel, Pollini, Richter and Horowitz have gone but fascinating pianists are still around. My four favourites right now are Vikingur Olafsson, Yuja Wang, Emanuel Ax and Stephen Hough — but ask me tomorrow and I will probably come up with different names. • The best classical concerts and opera: our reviews Nevertheless, when great performers die, something unique dies with them. I wonder if Brendel realised that. I once asked him whether he saw any meaning in life. (Never accuse a Times journalist of asking trivial questions.) 'No,' Brendel replied. 'There is none. One should fill one's existence with things of interest. But why one lives is a question that is unanswerable.' I disagree. As with all musicians of integrity, his performances brought a great deal of meaning to life. My life, anyway. Although I love his story of driving late at night, infuriated by something playing on Radio 3. 'What idiot would mess up Beethoven like that?' he fumed to himself. 'That was Alfred Brendel,' the announcer said.
The Guardian
2 days ago
- Entertainment
- The Guardian
La Mer: French Piano Trios album review – expansive, beguiling and unexpected
Three French works make a disparate but rounded programme on this release from the Neave Trio. Saint-Saëns took years to write his Trio No 2, and the result was a sprawling five-movement work that gets an appropriately wide-ranging and meaty performance here. The first movement roils and surges, the players catching both the push and pull of the restless theme and the brief passage of stillness later on. The slow third movement sings .with wistful nostalgia, and the fourth flows by in a waltz-like whirl pitched somewhere between Chopin and Dvořák. But the second movement, with its obsessively repeated rhythmic motif, perhaps needs a little more imagination to make it work. The two movements of Mel Bonis's Soir et Matin, written in 1907, are the opposite way round in atmosphere from how you might expect: Soir (Evening) is soulful, expansive and melodic; Matin (Morning) altogether more strange, impressionistic and beguiling. Finally, there's something unexpected on a chamber music recital: Debussy's painterly orchestral showpiece La Mer. Rendering the orchestra's highly textured writing for a chamber group is no easy task but this version, made by the composer Sally Beamish in 2013, is imaginative and beautifully judged, emerging more like a new work in its own right than a mere arrangement. This article includes content hosted on We ask for your permission before anything is loaded, as the provider may be using cookies and other technologies. To view this content, click 'Allow and continue'. Listen on Apple Music (above) or Spotify
