{"id":58375,"date":"2013-09-16T17:03:48","date_gmt":"2013-09-16T15:03:48","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=58375"},"modified":"2016-11-26T22:09:22","modified_gmt":"2016-11-26T21:09:22","slug":"a-romantic-wunder-in-verona","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/a-romantic-wunder-in-verona\/","title":{"rendered":"Verona, Teatro Filarmonico, Il Settembre dell’Accademia 2013: A Romantic Ingolf Wunder"},"content":{"rendered":"

Verona. Teatro Filarmonico. Il Settembre dell’Accademia XXII Concert Series 2013 <\/em>
\nPiano Recital Ingolf Wunder\u00a0 <\/strong>
\nLudwig van Beethoven<\/em>:\u00a0 Sonata op.27 n\u00b02 \u201cThe Moonlight\u201d
\nFryderik Chopin:<\/em> Nocturne op.9 n\u00b03; Ballade n\u00b01 op.23; n\u00b03 op. 47
\nFranz Schubert<\/em>: Impromtu op.142 n\u00b04; St\u00e4dchen(arr. Liszt, S.560\/7)
\nFranz Liszt:<\/em> Sonata (S. 178)
\nVerona. 11th<\/sup> September, 2013.\u00a0\u00a0 <\/em>
\n
\n<\/span>The one recital included in this year’s Accademia Filarmonica concert series was given by the young Austrian pianist Ingolf Wunder<\/strong>, second prize winner at the prestigious International Chopin Piano Competition at Warsaw in 2010, and already launched on an international career. The programme was a rich offering from the grand Romantic repertoire.\u00a0 It was framed by Beethoven’s universally popular \u201cMoonlight Sonata\u201d<\/strong> , written in 1801, and a work which is often considered Liszt’s greatest for the solo piano, Sonata in B minor, written in 1853.\u00a0 Between these two sonatas, Wunder presented a captivating choice of pieces, rich in cross references, by Chopin, Schubert, and\u00a0 Schubert arranged by Liszt.\u00a0 The programme was a luscious treat of works, as irresistible for their melodic and harmonic beauty as for their exhilarating\u00a0 virtuosity.\u00a0 Embarrassingly, Wunder had to recompose himself three or four times before he could attempt to begin the \u201cMoonlight\u201d sonata, (closing doors, mobile phone, late-comers, talking, handbags opening and closing) and when he did, it was still without the sort of quiet needed to create the necessary atmosphere for this rarefied beginning. And, despite everything, rarefied it was, with the opening broken chord accompaniment almost imperceptible. For the entire first movement, the\u00a0 accompaniment never rose above a murmur beneath the rise and fall of the main melody, an effect he repeated in the staccato accompaniment, in the opening verse of St\u00e4ndchen later in the programme.\u00a0 In the first piece of his Chopin group, Nocturne op. 9 n\u00b03<\/strong>, he similarly continued to privilege the spun melodic line over an increasingly complex plaiting of counter-melody, coloratura ornaments and left-hand\u00a0 arpeggio accompaniments. His approach to the Ballades was\u00a0 measured and lyrical.\u00a0<\/strong> He did not tug at the phrasing, nor dwell on the exquisite dissonances, nor\u00a0 exact\u00a0 tension before the resolution of harmonic suspensions, but\u00a0 neither did he allow himself a degree of abandon in the dramatic passages or the extemporizing moments.
\n\"\"<\/a>\u00a0The second half of the concert began with the most technically demanding of Schubert’s Impromtus<\/strong>, op.142 n\u00b04, written in 1827 and published posthumously.\u00a0 Wunder attacked the dazzling challenge of the scale runs, arpeggios, broken chords, the rapid thirds passages, and trills with dexterity, but failed to exploit the off -beat rhythm and whimsical theme in this free-form musical\u00a0 composition with its character of ex tempore improvisation.\u00a0 His choice of tempi were rather measured overall in the evening’s programme and here, as in other moments during the evening, an excessive use of the pedal blurred the harmonic and rhythmic clarity, as did\u00a0 a certain nonchalance, at times, for the odd wrong note.\u00a0 Liszt’s arrangement of the simple but moving Schubert serenade, \u201cSt\u00e4ndchen\u201d<\/strong>, was the perfect transition to the last work on the programme, Liszt’s monumental Sonata in B minor.\u00a0 The yearning and\u00a0 transparent lied, transformed into the more sonorous piece, denser and thicker texturally, led the way into the\u00a0 impressive musical architecture of the Sonata. Made up of only one grandiose movement, the sonata goes beyond the confines of the\u00a0 orthodox form of this period, expressing all that is profoundly technical, passionate and emotional in phrases of great breadth and power. \u00a0Wunder undertook an intense dialogue musically and physically, with the work, but\u00a0 an extra notch of power would not have been amiss.\u00a0 A relaxed and easy stage-presence, encouraged by insistent and enthusiastic applause, Wunder delighted the audience with three contrasting encores.\u00a0 The first, was Chopin’s\u00a0 Fantasie Impromptu(1834), written\u00a0 in the same key as the\u00a0 opening work of the concert, the Moonlight Sonata, which\u00a0 Beethoven had also subtitled \u201calmost a fantasy\u201d.\u00a0 Interestingly, Chopin’s Fantasie\u00a0 also contains similarities to Beethoven’s work.\u00a0 Two measures after the melody begins, an abrupt run up and down has exactly the same notes as the cadenza in movement 3 (Presto agitato)<\/em> of that work. The climax on a six-four chord is similar in both pieces.\u00a0\u00a0 Also, the Fantaisie-Impromptu’<\/em>s middle part and the second movement of the Moonlight Sonata<\/em> are in D-flat major.\u00a0 Whether by chance or design, it was an interesting choice of encore which enriched the fabric of cross references in the programme.\u00a0 The second encore was \u201cEtincelles\u201d (1886), by Moritz Morowski, which as the name, \u201cSparks\u201d, suggests, is a show piece which the pianist rendered in a dazzling display of brilliance and levity.\u00a0 And to end on the same theme as the beginning, \u201cClair de Lune\u201d (1890-reworked 1905)by Debussy, played with delicacy in an intense\u00a0 and enchanting mix of atmospheric colours, dynamics and rhythmic ebb and flow.<\/p>\n


\n<\/strong><\/p>\n

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Verona. Teatro Filarmonico. Il Settembre dell’Accademia XXII Concert Series 2013 Piano Recital Ingolf Wunder\u00a0 Ludwig van Beethoven:\u00a0 Sonata […]<\/p>\n","protected":false},"author":105,"featured_media":58132,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[14678,352,2426,5238,8464,3645],"class_list":["post-58375","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-concerti","tag-franz-liszt","tag-franz-schubert","tag-fryderyk-chopin","tag-ingolf-wunder","tag-ludwig-van-beethoven"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/58375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=58375"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/58375\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/58132"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=58375"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=58375"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=58375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}