Ben Schoeman returns to St Giles’ Church in the lovely English village of Great Coxwell to give a piano recital. The programme includes an exciting array of works by Bach, Ravel, Tchaikovsky, Beethoven and Liszt.
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Programme
Johann Sebastian Bach
Preludes and Fugues nos. 1-3 from Well-Tempered Clavier, Book 1
Maurice Ravel
Sonatine (1903-1905)
- Modéré
- Mouvement de menuet
- Animé
Ludwig van Beethoven
Rondo alla ingharese quasi un capriccio in G major, Op. 129 ‘Rage over a lost Penny’
Piotr I. Tchaikovsky (transcribed by Mikhail Pletnev)
Concert Suite from the ballet “The Nutcracker” (Op. 71)
- March
- Dance of the Sugar-Plum Fairy
- Tarantella
- Intermezzo
- Trepak (Russian Dance)
- The Tea (Chinese Dance)
- Pas de Deux
Franz Liszt
Tarantella (Venezia e Napoli, S. 162)
Programme Notes
This recital opens with the first three Preludes and Fugues from Bach’s Well‑Tempered Clavier, a cornerstone of keyboard literature. Each pair reveals a distinct world of character and colour: the poised clarity of C major, the introspective lyricism of C minor, and the radiant brilliance of C‑sharp major. Together, they form a miniature gallery of Baroque invention and expressive variety.
Ravel’s Sonatine shifts the palette to the shimmering hues of early 20th‑century France. Its refined classical poise, delicate harmonic shading and crystalline textures create an atmosphere of elegance. From the graceful Modéré to the nostalgic Menuet and the sparkling virtuosity of the Animé, the work glows with Ravel’s unmistakable sense of colour.
Beethoven’s Rondo alla ingharese quasi un capriccio—the famous Rage over a Lost Penny—brings a burst of humour and high‑spirited energy. Its playful themes, rhythmic verve and theatrical flair offer a delightful contrast to the refinement of Ravel.
The transcription of Tchaikovsky’s Nutcracker Suite by Mikhail Pletnev transforms orchestral magic into pianistic fireworks. Each movement becomes a vivid character piece: the stately March, the delicate shimmer of the Sugar‑Plum Fairy, the whirlwind Tarantella, the lyrical Intermezzo, the electrifying Trepak, the exotic charm of The Tea, and the sweeping grandeur of the Pas de Deux. The piano becomes an entire orchestra in miniature.
Liszt’s Tarantella from Venezia e Napoli closes the programme in a blaze of virtuosity. Inspired by Neapolitan dance rhythms and Italian folk colour, it is exuberant, fiery and irresistibly theatrical—a dazzling culmination to a recital rich in contrasts of style, texture and expressive imagination.
