Evgeny Kissin, Piano
Those who purchase stage tickets must pick them up from the Carnegie Hall Box Office (57th Street and Seventh Avenue) on the day of the concert between 11 AM and 7 PM. Since there is no late seating, ticket holders should plan to arrive one hour before the concert is scheduled to begin. At 7 PM, Carnegie Hall staff will direct ticket holders to form a queue. While a ticket guarantees onstage seating, the exact location is determined on a first-come, first-served basis. We do not allow standing at your seat anywhere in the venue. Though there is no dress code at Carnegie Hall, patrons who are seated onstage are asked to avoid bright clothing and noisy jewelry, and refrain from using heavy perfume. Given the limited space, large bags and flowers are not permitted onstage.
Performers
Evgeny Kissin, Piano
Program
BEETHOVEN Piano Sonata No. 27 in E Minor, Op. 90
CHOPIN Nocturne in F-sharp Minor, Op. 48, No. 2
CHOPIN Fantasy in F Minor, Op. 49
BRAHMS Four Ballades, Op. 10
PROKOFIEV Piano Sonata No. 2 in D Minor, Op. 14
Encores:
CHOPIN Mazurka in A Minor, Op. 67, No. 4
PROKOFIEV March from The Love for Three Oranges
BRAHMS Waltz in A-flat Major, Op. 39, No. 15
Event Duration
The printed program will last approximately 100 minutes, including one 20-minute intermission.At a Glance
BEETHOVEN Piano Sonata No. 27 in E Minor, Op. 90
Beethoven’s contribution to the piano literature was as revolutionary in conception as in technique. In contrast to the brilliant, “heroic” style of his so-called middle period, the dramatic and highly compressed E-Minor Sonata of 1814 foreshadows the denser, knottier idiom of his late works.
CHOPIN Nocturne in F-sharp Minor, Op. 48, No. 2; Fantasy in F Minor, Op. 49
Chopin revolutionized piano writing in a large body of solo pieces that imbued the brilliance of the salon style with unprecedented poetic depth. These two pieces illustrate the increasing complexity of his music as he expanded his stylistic horizons in the 1840s, partly under the influence of Liszt.
BRAHMS Four Ballades, Op. 10
Brahms felt a strong affinity to the quintessentially Romantic genre of the short instrumental character piece: The first of these four early essays is based on the traditional Scottish ballad “Edward.” The carefully planned tonal and motivic relationships among the Op. 10 Ballades suggest that Brahms intended them to be heard as a set of two pairs.
PROKOFIEV Piano Sonata No. 2 in D Minor, Op. 14
Prokofiev cultivated a sharply etched, ironic, and occasionally acerbic style that propelled him to the forefront of the modernist movement before and during World War I. The multi-movement format of the D-Minor Sonata highlights the vivid contrasts that characterize his musical language.