Olga Pashchenko BEETHOVEN Appassionata, Les Adieux, Waldstein

Olga Pashchenko is one of today’s most versatile performers on the keyboard, from organ and harpsichord to fortepiano and modern piano. Her worldwide performances and award winning competitions demonstrate a highly individual style combined with great virtuosity, wealth of color and sensitivity towards the broad repertoire that she performs on each different keyboard. 
Olga gave her first piano recital in New York when she was 9 years old. She has performed as a soloist, as chamber musician as well as orchestral soloist, in Germany, France, Belgium, the Netherlands, Italy, Switzerland, the USA and Russia, and she is a regular guest at early and contemporary music festivals alike. Her repertoire ranges from Bach’s Goldberg Variations on harpsichord to Beethoven and Liszt on historical pianos and Hindemith and Ligeti on modern piano. Olga also enjoys performing on different keyboards in one recital, as she demonstrated at the Early Music Festival Utrecht and in a showcase at the Liszt International Piano Competition, where she played on four different keyboards from Liszt’s time. Olga is artist-in-residence at the museum of the Beethoven Haus in Bonn, where she performs in the series “Bonngasse 20: music from Beethoven’s time”.
Olga Pashchenko is in the process of creating a unique place for herself in the world of the keyboard: she moves with astounding ease and skill from the harpsichord to the fortepiano, the organ and the modern piano. After a recording of Beethoven’s variations in 2015, the young pianist has now gone to the legendary Beethoven-Haus in Bonn, a venue she knows well since she regularly gives concerts within its walls, to record three monuments of the pianistic literature – the Appassionata, Les Adieux and Waldstein sonatas – on the original Conrad Graf piano of 1824 conserved there. She utilises all the sonic possibilities and the full palette of colours of this instrument made around fifteen years after the composition of these sonatas, three of the finest in the corpus of thirty-two that Hans von Bülow called ‘the New Testament of every pianist’.

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