It took decades for Beethoven’s monumental ‘Hammerklavier’ Sonata (op. 106) to become a permanent fixture of the concert repertoire, thanks to Liszt and his pupils. Echoes of op. 106 can still be heard in Alban Berg’s Piano Sonata, op. 1. Much the same can be said of Robert Schumann’s studies of Bach, which reverberate in the fugues of his op. 72. Yet György Kurtág’s eight short piano pieces, as concise as Webern yet beholden to Bartók, met with consternation and puzzlement at their Darmstadt première in 1960, long preventing him from being recognised as one of the most headstrong composers of our time. The young pianist Tomoki Kitamura is no stranger to classical audiences, having won Bonn’s International Telekom Beethoven Competition in 2017.
- György Kurtág: Eight Piano Pieces, op. 3 (1960)
- Robert Schumann: Four Fugues for piano, op. 72 (1845)
- Franz Liszt: ‘Nuages gris’ for piano,, S 199 (1881)
- Franz Liszt: »R.W. – Venezia« für Klavier, S 201 (1883)
- Franz Liszt: ‘La lugubre gondola’ no. 1 for piano, S 200/1 (1882)
- Alban Berg: Piano Sonata,, op. 1 (1908/09)
- Ludwig van Beethoven: Piano Sonata no. 29 in B-flat major,, op. 106 ‘Hammerklavier’ Sonata) (1817–19)