The premiere of Stravinsky’s Le sacre du printemps in 1913 sent a shock wave through Western music history. A journalist expressed the feelings of many when he nicknamed the work “Le massacre du tympan” or “The massacre of the eardrum”. Although Le sacre no longer sounds like a massacre to us today, the work’s primordial power is still every bit as overwhelming.
The same is true for Bartók’s most frequently played chamber work, the Sonata for two pianos and percussion. This piece also spares no effort to overwhelm the listener, using both brute force and beautiful simplicity.
Béla Bartók: Sonata for two pianos and percussion / Igor Stravinski: Le Sacre du Printemps (arrangement)
Opening concert of the academic year KU Leuven / sponsors: Peeters drukkerij - uitgeverij - boekhandel & BNP Paribas Fortis
INTRO (dutch only)
Maarten Beirens, 19:45 (Kleine Aula Maria Theresia College)
Het Collectief & Triatu
Two Flemish pianists are working out to prepare for this muscular programme: Thomas Dieltjens and Piet Kuijken will give a convincing argument for calling the piano both a percussion instrument and a string instrument.
They’ll be accompanied by two percussionists from Triatu, an ensemble that gave a brilliant performance of Shostakovich’s Fifteenth Symphony in the 2016 Festival 20/21.