The Église de Verbier hosts morning, afternoon and evening concerts. It is the Verbier Festival’s primary venue for solo, chamber music and vocal recitals.
Piano Recital Alexandre Kantorow
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
Alexandre Kantorow presents works by and inspired by Liszt, culminating in the austerely beautiful left-hand transcription of Bach’s Chaconne in D minor by Liszt’s younger sparring partner, Brahms.
There’s a distinct flavour of Liszt about the richly textured chromaticism of Bartók’s Op. 1 Rhapsody, first published in 1909; especially when heard next to Liszt’s final Transcendental Étude of fiftyish years earlier, ‘Chasse neige,’ whose tremolo and swirling chromatic figures depict a snow storm. Liszt’s Vallée d’Obermann is equally chromatic and pictorial; inspired by a French novel about a recluse who retreats to the Swiss Alps for nature-inspired existential musings, its initial descending left-hand idea provides the material for the ensuing restless music. Fauré’s thematically unified Nocturne No. 6 of 1894 is closer to the world of Liszt than to Chopin, despite its title. Similarly it’s Liszt, specifically his Faust-themed works, hovering behind Rachmaninoff’s grand-scale First Piano sonata of 1907. Initially titled ‘Faust,’ its three movements represent Faust, Gretchen and Mephistopheles, the latter complete with Dies irae motif. Finally, Brahms’s transcription of Bach’s D minor Chaconne, a technical study for the left-hand, is no less poetry-imbued for not being programmatic.