Imogen Cooper in Recital
The much-loved pianist presents an extraordinary musical journey from darkness to light, bookended by Beethoven and ranging through music from nearly four centuries.
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Southbank Centre
Programme
Repertoire
- Bartók: 14 Bagatelles, Op.6
- Liszt: Bagatelle without tonality, S.216a
- Beethoven: 15 Variations and Fugue on an original theme in E flat (Eroica), Op.35
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Interval
- Bach: Chorale-prelude, Nun freut euch, lieben Christen, BWV.734 arr. Kempff; Chorale-prelude, Nun komm' der Heiden Heiland, BWV.659 arr. Busoni
- Dowland: In darkness let me dwell (a recording for voice & lute)
- Thomas Adès: Darknesse visible
- Beethoven: Sonata in A flat, Op.110
About this event
Beethoven is both the jumping-off point and the culmination of Imogen Cooper’s journey into the depths and heights of human emotion.
First she probes Liszt’s introverted and exploratory late music alongside his fellow Hungarian Bartók’s early Bagatelles.
The first half ends with Beethoven’s playful and idiosyncratic Eroica Variations.
After the interval, piano arrangements by Kempff and Busoni of Bach’s austere chorales open the proceedings, leading to Thomas Adès’ contemporary piano masterpiece Darknesse Visible, based on the Elizabethan lute song by John Dowland ‘In Darknesse Let Me Dwell’.
This is illustrated by a recording of its original version for voice and lute.
Finally Cooper performs a work with which she has been associated for many years, Beethoven’s penultimate Sonata Op.110: in itself another spiritual journey from darkness to light.
Venue details
Queen Elizabeth Hall
Southbank Centre, Belvedere Road, London SE1 8XX
Location Map
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