Klassik Forum Chur: Sophie Pacini

The piano recital enjoys a special position in the concert world: with only one person on stage, an intimacy is created as it is
perhaps not possible with any other instrumentation. No wonder, then, that the repertoire for solo piano is the richest, and that the tradition of the piano recital has continued to evolve over the centuries. Sophie Pacini is a representative of this change, because in her programs she always thinks one step ahead. Instead of playing an entire Schubert cycle, she creates an intimate framework around the two core works in the first half with two classics by Franz Schubert: Wolfgang Amadeus Mozart's famous D minor Fantasy prepares the unknown Souvenance of Cécile Chaminade with its changeability, which calmly floats and gives the tonal language of Schubert and Mozart a third, nostalgic component. In the second half of the concert, Pacini slowly and skilfully breaks out of intimacy
into virtuosity – and who combines these two qualities better than Franz Liszt. In the Consolations, devotion and quiet virtuosity come together. A combination that can also be found in the overture to Tannhäuser. In good Liszt manner, the
virtuosity in it, however, becomes more and more apparent, right up to the overwhelming final chorale. A well thought-out program that develops naturally from sensuality to virtuosity.


Soloist:
Sophie Pacini (piano)

Program:

Franz Schubert (1797–1828) 23′
Sonata in A minor, D 784 (1823)

Wolfgang Amadeus Mozart (1756–1791) 7′
Fantasia in D minor, K. 397 (1782)

Cécile Chaminade (1857–1944) 2′
Souvenance, from: 6 Romances without Words, op. 76 (1893)

Franz Schubert 7′
Impromptu in A flat major, D 935 (1827)

Intermission 20′

Franz Liszt (1811–1886) 14′
Consolations (1849)

Franz Liszt 15′
Overture to Tannhäuser by Richard Wagner, Concerto Paraphrase for Piano (1849)