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Franz Schubert:
Fantasie in C minor, D. 2e
Allegretto in C minor, D. 915
Adagio in C major, from the Piano Pieces, D. 459a
Minuet in A minor, D. 277a
13 Variations in A minor on a Theme by Anselm Hüttenbrenner, D. 576
March in B minor, D. 757a
Hungarian Melody in B minor, D. 817
Minuet in C-sharp minor, D. 600
Trio: Waltz in A major, D. 779, No. 13
Adagio in D-flat major, D. 505
Sonata in E-flat major, D. 568
How did Schubert’s piano music sound to his contemporaries? If there is a pianist today who might answer this question, it is perhaps Kristian Bezuidenhout. From an early age, the South African-born musician (born in 1979) discovered his passion for the music of past eras – and for the instruments on which it was originally played.
No question: Schubert’s piano music fits beautifully on a modern concert grand. But when Bezuidenhout plays it on a 200-year-old fortepiano, he not only revives the sound but also brings the spirit of the Romantic genius back to life. In his festival appearance, he presents the “unknown” Schubert—an artist who, from his youth until his untimely death at 31, continuously composed both grand masterpieces and small piano gems.
One such work is the C minor Fantasy, written by the 14-year-old student of the Vienna Boys’ Choir, alongside pieces like the enchanting Adagio in D-flat major or the March in B minor, the key of the “Unfinished” Symphony. In addition to these hidden treasures, Kristian Bezuidenhout includes evergreens such as the hauntingly melancholic *Hungarian Melody* in his program, contrasting them with larger-scale compositions. Among these are the variations on a theme by Anselm Hüttenbrenner—clearly influenced by Beethoven—and the expansive E-flat major Sonata D. 568, a highlight from Schubert’s middle creative period.
Photo: Marco Borggreve
One such work is the C minor Fantasy, written by the 14-year-old student of the Vienna Boys’ Choir, alongside pieces like the enchanting Adagio in D-flat major or the March in B minor, the key of the “Unfinished” Symphony. In addition to these hidden treasures, Kristian Bezuidenhout includes evergreens such as the hauntingly melancholic *Hungarian Melody* in his program, contrasting them with larger-scale compositions. Among these are the variations on a theme by Anselm Hüttenbrenner—clearly influenced by Beethoven—and the expansive E-flat major Sonata D. 568, a highlight from Schubert’s middle creative period.
Photo: Marco Borggreve
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Martinstift
Filderstr. 126
47447 Moers
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Kristian Bezuidenhout
Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London.
Martinstift
Das klassizistisch gestaltete Martinstift stammt aus dem 19. Jahrhundert und diente früher pädagogischen Zwecken. Heute beherbergt es die Musikschule. Das zentrale Gebäude, bei der Renovierung 2010...
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