Event is Live
Carnegie Hall Presents in association with The Razumovsky Trust

Sandra Lied Haga, Cello
Anna Fedorova, Piano

Friday, November 8, 2024 7:30 PM Weill Recital Hall
Sandra Lied Haga by Agnete Brun, Anna Fedorova by Marco Borggreve
Sandra Lied Haga’s tone is exquisite, rich, and extremely beautiful. Her playing is intelligent and deep-felt. This young lady surely is the future of cello playing,” says renowned violinist and 2024–2025 Carnegie Hall Perspectives artist Maxim Vengerov. Hear the exceptional cellist as she makes her Carnegie Hall debut in our most intimate venue. Joined by Ukrainian pianist Anna Fedorova, she performs a program of definitive duo works for cello and piano by Robert Schumann, Prokofiev, Brahms, and Chopin.

Performers

Sandra Lied Haga, Cello
Anna Fedorova, Piano

Program

R. SCHUMANN Adagio and Allegro, Op. 70

PROKOFIEV Cello Sonata in C Major, Op. 119

BRAHMS Cello Sonata No. 2

CHOPIN Introduction and Polonaise brillante, Op. 3

Event Duration

The printed program will last approximately 90 minutes, including one 20-minute intermission. 

At a Glance

R. SCHUMANN  Adagio and Allegro, Op. 70

Originally written for French horn, this richly lyrical diptych has become a standard of the cello literature. Although the valve horn had been in existence for some 30 years by the time Schumann wrote it in 1849, the older natural horn still held sway in most European orchestras. The Adagio and Allegro helped gain the new instrument wider acceptance.

 

PROKOFIEV  Cello Sonata in C Major, Op. 119

In the late 1940s, having been charged by the Soviet authorities with trafficking in “formalist distortions,” Prokofiev withdrew into the private realm of chamber music. Among other works, he wrote the last of his nine piano sonatas, the unprepossessingly lyrical Sonata for Solo Violin, and the richly meditative Cello Sonata in C Major.

 

BRAHMS  Cello Sonata No. 2 in F Major, Op. 99

The “autumnal” quality often ascribed to Brahms’s music owes much to his partiality—especially in his later years—for the alto voice and the burnished timbres of the viola and clarinet; yet, he was drawn to the distinctive sound of the cello as well. He demonstrated his affinity for the instrument in two sonatas, of which Op. 99 is the more outgoing and exuberant.

 

CHOPIN  Introduction and Polonaise brillante, Op. 3

In the fall of 1829, fresh from a triumphant tour of Austria and Germany, Chopin accepted an invitation from Prince Antoni Radziwiłł to visit his hunting lodge in the mountains outside Warsaw. An amateur composer and cellist, the prince was eager for his daughters to have high-level musical instruction. It was for one of the “two young Eves in this paradise,” as Chopin called them, that he composed the Introduction and Polonaise brillante.

Bios

Sandra Lied Haga

Born in Oslo in 1994, Norwegian cellist Sandra Lied Haga stands on the threshold of a major international career, having won, among other prizes, the prestigious Equinor Classical Music ...

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Anna Fedorova

From an early age, the Ukrainian pianist Anna Fedorova showed an innate musical maturity and amazing technical abilities. Her live recording of Rachmaninoff’s Second Piano Concerto ...

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