Alfred Brendel

Pianomania takes the audience on a humorous journey through the secret world of sound and accompanies Stefan Knüpfer in his extraordinary work with the greatest pianists in the world. To select the instrument that corresponds to the vision of the virtuoso, according it to his desire and accompany him until he goes on stage, Stefan Knüpfer has developed nerves of steel, a boundless passion and above ability to translate words into sounds.

An intimate account of the relationship between young composer and pianist Kit Armstrong and the world renowned Alfred Brendel, Set the Piano Stool on Fire captures both the creative process and champions the value of teaching and collaboration. Featuring the only filmed footage of Brendel during his farewell tour, this is highly revealing and essential viewing for anyone interested in classical music.

Internationally renowned pianist Alfred Brendel delivers three different lectures: 'Does Classical Music Have to Be Entirely Serious?', 'Musical Characters', and 'Light and Shade of Interpretation'. Using his piano throughout to illustrate various ideas and concepts. The subject matter for the different sessions include the use of humour in classical music, Beethoven's sonatas, and interpretation. Recorded at the Schuttkasten, Salzburg, 25, 26, 27 September 2010.

Certainly Brendel plays these pieces beautifully. He never overstates, which is lovely. Best of all, they remind me that they (for my money) are the best of the Liszt keyboard compositions. It is good to see the ease with which he plays. No flash, just wonderfully constructed music. They remind me of the same expert expression the composer brought to his Petrach songs.

Competently as usual and with a lot of visinary energy, Claudio Abbado conducted his LUCERNE FESTIVAL ORCHESTRA at the opening of LUCERNE FESTIVAL, SOMMER 2005. The programm included Beethoven's impressive Piano Concerto No. 3 in C minor, Op. 37, with Alfred Brendel as soloist and, as the very heart of the opening programme of SOMMER 2005, Anton Bruckner's Symphony No. 7.

Alfred Brendel, one of the greatest of all pianists, plays and reflects on Franz Schubert’s last three piano sonatas. As he points out, Schubert can’t have known that he was soon to die, so they probably do not embody the air of resignation and finality future generations have sentimentally insisted they bear. They were however long neglected, all but forgotten, and only in more recent times have they come to be treasured and performed. The repose and wisdom of the maestro, together with the patient observation of one who is no stranger to the idea of the irrevocably lost, of the erasures of history, and of the value of fragile objects passed carefully from generation to generation, is a joy.