CAL PERFORMANCES PRESENTS PROGRAM

Wednesday, February 29, 2012, 8pm (1770–1827) Thirty-Three Variations on a Waltz by Zellerbach Hall , Op. 120 (1819, 1822–1823)

Thema — Vivace I. Alla Marcia maestoso András Schiff, II. Poco Allegro III. L’istesso tempo IV. Un poco più vivace V. Allegro vivace PROGRAM VI. Allegro ma non troppo e seriouso VII. Un poco più allegro VIII. Poco vivace (1685–1750) Three-Part Inventions (Sinfonias), IX. Allegro pesante e risoluto bwv 787–801 (1720) X. Presto XI. Allegretto No. 1 in C major, bwv 787 XII. Un poco più moto No. 2 in C minor, bwv 788 XIII. Vivace No. 3 in D major, bwv 789 XIV. Grave e maestoso No. 4 in D minor, bwv 790 XV. Presto scherzando No. 5 in E-flat major,bwv 791 XVI. Allegro No. 6 in E major, bwv 792 XVII. Allegro No. 7 in E minor, bwv 793 XVIII. Poco moderato No. 8 in F major, bwv 794 XIX. Presto No. 9 in F minor, bwv 795 XX. Andante No. 10 in G major, bwv 796 XXI. Allegro con brio — meno allegro No. 11 in G minor, bwv 797 XXII. Allegro molto (alla “Notte e giorno faticar” No. 12 in A major, bwv 798 from Mozart’s Don Giovanni) No. 13 in A minor, bwv 799 XXIII. Allegro assai No. 14 in B-flat major,bwv 800 XXIV. Fughetta. Andante No. 15 in B minor, bwv 801 X X V. A llegro XXVI. (Piacevole) XXVII. Vivace Béla Bartók (1881–1945) Sonata for Piano, Sz. 80 (1926) XXVIII. Allegro XXIX. Adagio ma non troppo Allegro moderato XXX. Andante, sempre cantabile Sostenuto e pesante XXXI. Largo, molto espressivo Allegro molto XXXII. Fuga. Allegro XXXIII. Tempo di Minuetto moderato

INTERMISSION

Funded by the Koret Foundation, this performance is part of Cal Performances’ 2011–2012 Koret Recital Series, which brings world-class artists to our community.

This performance is made possible, in part, by Patron Sponsors Helene and Charles Linker.

Cal Performances’ 2011–2012 season is sponsored by Wells Fargo.

20 CAL PERFORMANCES CAL PERFORMANCES 21 PROGRAM NOTES PROGRAM NOTES

Johann Sebastian Bach (1685–1750) a short, instrumental composition, but Invention held together by the logic, and the iron consis- Béla Bartók (1881–1945) Three-Part Inventions (Sinfonias), was unusual. Bach seems to have borrowed it tency, of his musical thoughts.” Sonata for Piano, Sz. 80 bwv 787–801 from a set of Invenzioni for Violin and Keyboard Sinfonia No. 1 (C major), strewn with rib- published in 1712 by the Italian priest and com- bons of scales, provides a sunny and bracing Composed in 1926. Premiered over Hungarian Composed in 1720. poser Francesco Antonio Bonporti (1672–1748), gateway to the collection. Radio on December 3, 1926, by the composer; pub- which Bach had copied out for his own study. Sinfonia No. 2 (C minor) combines a broken- lic premiere on December 8, 1926, in Budapest. During the years of his early adulthood, Bach (Four of them were mistakenly included in the chord motive and a chain of scale notes with devoted much attention to the education of his first collected edition of Bach’s works.) The gen- some subtle background figurations. After the fiendish winds of the First World War growing brood, an entire tribe of Bachian off- eral concept of musical “invention” dates to the Sinfonia No. 3 (D major) weaves an intri- finally blew themselves out in 1918, there came spring (20 of them eventually; half survived to Italian Renaissance, when it indicated the cre- cate contrapuntal web from its three intertwin- into music a new invigoration and an eagerness maturity) who were inevitably trained in the ation of a new piece through the processes of ing voices. by composers to stretch the forms and language musical art that had provided the principal composition. (Vivaldi’s Four Seasons were pub- Sinfonia No. 4 (D minor) extracts great of the ancient art. Stravinsky, Schoenberg, livelihood of the family for at least five genera- lished in 1725 in a collection titled Il Cimento poignancy from the widely arched intervals of Webern, Prokofiev, Shostakovich, Copland tions. Bach made the household curriculum for dell’Armonia e dell’Inventione—“The Contest its theme. and other of the most important 20th-century Wilhelm Friedemann, the eldest son, born in between Harmony and Invention.”) Sinfonia No. 5 (E-flat major) is in the nature masters challenged listeners and colleagues Weimar in 1710, the model for his other chil- Bach indicated the intent of the Inventions of a duet in close harmonies balanced upon a throughout the 1920s with their daring visions dren, rigorously drilling the youngster in theory, and Sinfonias in a preface to the 1723 manu- persistently repeated figure in the bass. and their brilliant iconoclasms. It was the most composition and performance. On January 22, script: “Straightforward instruction, whereby Sinfonia No. 6 (E major) wraps two inter- exciting decade in the entire history of music. 1720, while he was music director at the court lovers of the keyboard, and especially those twining accompanimental lines around a stream Béla Bartók, whose folksong researches were of Anhalt-Cöthen, Bach began a little music eager to learn, are shown a clear method, not of incessantly running triplets. severely limited geographically by the loss of notebook for keyboard instruction—a Clavier- only (1) of learning to play cleanly in two parts, Sinfonia No. 7 (E minor), with its lyricism Hungarian territories through the treaties fol- Büchlein—to collect his lesson materials for but also, after further progress, (2) of managing and sweet, close-interval harmonies, is remi- lowing the war, was not immune to the spirit of the nine-year-old Friedemann, the age at which three obbligato parts correctly and satisfacto- niscent of an operatic duet, perhaps sung at the experimentation, and he shifted his professional Bach himself had begun formal studies. First he rily; and in addition not only of arriving at good parting of lovers. concentration at that time from ethnomusicol- put in a table of the eight clefs used at that time original ideas [Inventiones] but also of develop- The steady rhythm and the theme begun ogy to composition and his career as a pianist. for notating the various voice and instrumental ing them satisfactorily; and most of all of acquir- with two unaccented “upbeat” notes give the He was particularly interested in the music of parts, and then an explanation of the most com- ing a cantabile style of playing while at the same Sinfonia No. 8 (F major) the character of a Stravinsky, notably the mosaic structures and mon ornaments found in keyboard pieces and time receiving a strong foretaste of composi- quick-tempo gavotte. advanced harmonies of the Diaghilev ballets, some finger exercises. There follow several short tion.” The intensive training in the joined disci- The drooping melodic leadings and somber and in the recent Viennese developments in numbers (not all by Bach), some of Friedemann’s plines of keyboard technique, performance style gait of the Sinfonia No. 9 (F minor), the longest atonality and motivic generation posited by attempts at copying scores (four of the Preludes and composition provided by Bach’s teaching movement of the set, lend the music the charac- Arnold Schoenberg and his friend and disciple that Bach was then working on for The Well- methods had its desired effect on Friedemann, ter a lament. Alban Berg. A decided modernism entered Tempered Clavier were left incomplete when the who was appointed organist at the Sophiekirche Sinfonia No. 10 (G major) is airy in texture, Bartók’s music with his searing 1919 ballet, boy’s large, unpracticed hand caused him to run in Dresden in 1733 and 13 years later became flowing in motion and genial in mood. The Miraculous Mandarin, and his works of the out of room on a page) and 15 works in strict music director of the Liebfrauenkirche in Halle. Sinfonia No. 11 (G minor) is a wistful, deli- following years—the two Violin Sonatas, the two-part style titled Praeambula. Following In his authoritative 1966 study of Bach, cately etched minuet. Piano Sonata, the piano suite Out of Doors, the a few little dance numbers by Telemann and the eminent Austrian-American musicologist Sinfonia No. 12 (A major) suggests a luxuri- First Piano Concerto and the String Quartet Stoelzel, Bach created 15 three-part sequels Karl Geiringer wrote of the Inventions, “Using antly textured processional. No. 3—are the most daring that he ever wrote. to the Praeambula that he called Fantasie. In all the devices of the contrapuntal vocabulary, Sinfonia No. 13 (A minor) calls to mind a He was reluctant to program them for any but 1723, shortly before taking up his new duties as he evolved characteristic compositions out of dignified, reflective sarabande. the most sophisticated audiences. Cantor for Leipzig’s churches, Bach extracted a single idea stated at the beginning. No other Sinfonia No. 14 (B-flat major) is measured Bartók’s only Piano Sonata was the first the Praeambula and Fantasie from Friedemann’s composer had hitherto imbued clavier works of in pace, featherstitched in texture and almost product of the burst of creative activity that Clavier-Büchlein, revised them according to the such small dimensions with a content of such playful in mood. he experienced during the middle months of efficacy they had shown as pedagogical items, significance. These are studies in independent Sinfonia No. 15 (B minor) juxtaposes a 1926, after two years of putting aside composing and inscribed them into a new manuscript under part writing using all the devices of fugue, can- muscular imitated motive with flurries of arpeg- in favor of teaching at the Music Academy in the titles Inventio and Sinfonia—they are com- on and double counterpoint, but without strict giated notes. Budapest, codifying his folk music researches, monly known today as the Two- and Three-Part adherence to any of them. Bach freely blends all and honing his piano technique to international Inventions. Sinfonia was then a generic term for known techniques, and creates forms which are virtuoso standards. The immediate catalyst

22 CAL PERFORMANCES CAL PERFORMANCES 23 PROGRAM NOTES PROGRAM NOTES of this intense period of composition seems to of the opening sonata-form movement encom- settled in Vienna, where he taught piano and 1816, Diabelli made a piano of have been ’s appearance with passes some five distinct motives that are varied guitar, composed pedagogical and entertain- Beethoven’s Seventh for Steiner, and the Budapest Philharmonic on March 15th to in contour and intensity, though all are built ment pieces fitted to the bourgeois tastes of the eagerly sought his contribution to the set of col- perform his own Concerto for Piano and Wind largely from the pervasive scale steps and small day, and worked as a copyist and proofreader lective variations he initiated in 1819. Diabelli Instruments of 1924, a work he had toured as intervals of folk music and are carried along by for local music publishers. By the 1810s, he had published Beethoven’s C minor Sonata, Op. 111, pianist-composer with great success in Europe a powerful current of incessant rhythms. The established himself with the important publish- in 1823, negotiated with him (unsuccessfully) and America; for his solo recitals, Stravinsky compact development section, identifiable by its ing firm of Sigmund Steiner, and in 1817, he set for the rights to the Missa Solemnis that same also wrote a Piano Sonata in 1924. Bartók was bristling, crushed scale figures, uses fragments up his own company; the following year he took year, and in 1824, commissioned from him a becoming increasingly recognized as a pianist of the exposition’s themes. The recapitulation is on the art dealer and engraver Pietro Cappi as a four-hand piano sonata, which was never writ- during those years—a solo recital in Budapest shortened by the excision of some of the earlier partner. Cappi & Diabelli issued its first publi- ten. During Beethoven’s final illness, Diabelli in January 1926, appearances with the Berlin materials. A dynamic coda drives the movement cation in December 1818, and quickly became cheered the mortally ill composer with a copy Philharmonic and in Baden-Baden to perform to its abrupt end. The second movement, with its known as a supplier of popular dance pieces and of the firm’s new engraving of Haydn’s birth- his Rhapsody, Op. 1, in February, a short tour keening chants of repeated notes and cramped operatic for the amateur market. place in Rohrau, which Beethoven showed to to northern Italy the following month—but intervals, solemn bell tones and trudging, dirge- To bring artistic balance to the firm’s catalog, all his visitors: “In this little house, a great man much of his own repertory was nearly a decade like pace, is a bleak lament, perhaps a reminis- Diabelli signed up the promising Franz Schubert was born,” he told them. Following Beethoven’s or more old (the Rhapsody dates from 1904), cence of the ghastly war that had scarred Europe as one of his clients—the Erlkönig and Gretchen death, in March 1827, Diabelli edited and pub- so between June and November, hoping to du- a decade before, that is wound from pure, stark am Spinnrade, issued by Cappi & Diabelli in lished the 1795 Rondo a capriccio under the plicate Stravinsky’s success, he composed the contrapuntal lines. The finale is a meticulously April 1821, were Schubert’s first works to ap- evocative title Rage over a Lost Penny (Op. 129), Piano Sonata, Out of Doors, Nine Little Piano refined hybrid of rondo and variations forms pear in print—and submitted a waltz melody as well as a piano arrangement of sketches for Pieces and the First Piano Concerto, as well as using the jagged rhythms and short, repetitive of his own composition to every significant a string quintet (WoO 62) that Beethoven tin- a number of smaller movements that were in- phrases of indigenous Hungarian music, but its Austrian composer known to him as the subject kered with in November 1826, which Diabelli cluded in the pedagogical Mikrokosmos. All of essential expressive character is that of a riotous for single variations to be published collectively issued as “the composer’s last thoughts.” Despite these works figured prominently in his first tour folk festival. in a volume patriotically titled Vaterländischer their friendly relationship, Beethoven was dis- of the United States, during which he followed Künstlerverein (“National Society of Artists”). By inclined to participate in Diabelli’s collabora- his American debut in December 1927 with 1824, some 50 composers—including Schubert, tive variations project when he first received the the New York Philharmonic with two months Ludwig van Beethoven (1770–1827) Czerny, Hummel, Kalkbrenner, Moscheles, waltz theme in 1819, having recently begun of solo and orchestral appearances and lectures Thirty-Three Variations on a Waltz by Tomásek, Franz Xaver Mozart (Wolfgang’s son), work on the massive Missa Solemnis and set in from Los Angeles and Seattle to Boston and Anton Diabelli, Op. 120 Beethoven’s pupil the Archduke Rudolph, and motion court proceedings to wrest custody of Philadelphia, with stops in Denver, St. Louis, the eleven-year-old Liszt—had submitted varia- his nephew Karl from the boy’s recently wid- Chicago, Detroit, Cleveland and elsewhere in Composed in 1819 and 1822–1823. tions, and the anthology was published. The owed, and, Beethoven thought, incompetent between. Though the critical reception of his submission of the 51st composer, Ludwig van mother. Though Beethoven initially referred to performances was mixed, Bruno David Ussher Anton Diabelli, an Austrian musician of lim- Beethoven, exploded into a massive collection of Diabelli’s dance tune as a Schusterfleck—a “cob- stated in his January 12, 1928, review in the Los ited creative ability but excellent entrepreneur- 33 variations, and had to be issued separately. bler’s patch”—its melodic and harmonic atoms Angeles Express, “That Bartók is a composer of ial skills, was born in Salzburg on September 6, After Cappi’s retirement in 1824, Diabelli ran played in his mind, and plans for an encyclope- eminence cannot be doubted.” 1781, and sang in the choirs of a local monas- the firm with considerable success with busi- dic work in the genre, a kind of compendium Bartók’s Piano Sonata synthesized the formal tery and Salzburg Cathedral as a boy. He began ness help from Anton Spina, creating a catalog of variations technique, began to grow. By early plans and precise motivic development of High studying for the priesthood, but also continued in which the profits from his popular pieces 1820, he had written down a half dozen varia- Classicism with some of the most advanced sty- his musical work as a pupil of Michael Haydn, were used to underwrite publications of a more tions, but then put the work aside until he fin- listic traits of the 1920s—the clangorous, per- who encouraged his composing and helped to serious nature. In 1852, he sold the company ished the Missa in 1822, when he brought the cussive use of the piano that Bartók himself had oversee the publication of a half dozen of his to Anton’s son, Carl Spina, who gave his own set to its finished, hour-long state. Diabelli pub- tried out as early as his Allegro Barbaro of 1911 Masses in 1799. In 1800, Napoleon defeated name to the firm and published much music by lished the score as Beethoven’s Op. 120 the fol- and which had become a trademark of Serge the forces of Bavaria, which then controlled the Strauss family. Diabelli died in Vienna on lowing year. Prokofiev’s early piano music and Stravinsky’s Salzburg and western Austria (Mozart was ac- April 7, 1858. Beethoven’s dedication of the Diabelli Les Noces; the derivation of thematic materials tually born German, not Austrian), and three Beethoven came to know Diabelli after he Variations bears a special biographical sig- from the essential building blocks of Eastern years later dissolved the monasteries and gave went to work for Steiner, his principal Viennese nificance, since it was inscribed to Antonie European folksong; the iconoclastic harmonies their properties to the state. Diabelli’s ecclesi- publisher for the decade after 1812, and the Brentano, whom Maynard Solomon, in his 1977 of Viennese modernism; the elemental, propul- astical studies were terminated, and he chose two developed a jocular friendship: Beethoven study of the composer, convincingly identified sive rhythms of The Rite of Spring. The exposition instead to follow a career in music. In 1803, he nicknamed Diabelli “diabolus”—“devil.” In as the “Immortal Beloved,” the only salutation

24 CAL PERFORMANCES CAL PERFORMANCES 25 PROGRAM NOTES ABOUT THE ARTIST that headed a love letter Beethoven wrote in Beethoven’s genius. Indeed, the whole image two programs—a project which grew out of his 1812 but never posted. Antonie, the daughter of the world of tone is outlined here, the whole relationship with the gifted puppeteer Philippe of Joseph Melchior von Birkenstock, a trusted evolution of musical thought and sound fantasy, Brunner, with whom Mr. Schiff first collabo- advisor to the Empress Maria Theresia, married from the most contained contemplation to the rated when Mr. Brunner was twelve. Mr. Schiff the Frankfurt businessman Franz Brentano in most abandoned humor—an unbelievably rich appears in October with the Budapest Festival 1798, when she was 18, but returned to Vienna variety.” The critic Ernest Walker saw repre- and Iván Fischer, performing all three in 1809 to nurse her dying father. The Brentanos sented here the extremes of Beethoven’s musi- of Bartók’s piano concerti in two evenings. He lived at the Birkenstock villa (which Beethoven’s cal personality: “We find side by side grim un- also performs the U.S. premiere of a piece by his biographer Thayer called “a truly noble seat of couthness and unearthly serenity, wild passion one-time teacher György Kurtág—today’s lead- learning, high culture and refinement”) for the and noble majesty, inconsequential antics and ing Hungarian composer—and teaches young next three years. Beethoven was introduced to delicate charm, tortuous involutions and lim- musicians in a Professional Training Workshop the family in May 1810 by Franz’s sister Bettina, pid simplicity.” Few composers have been able that focuses on the music of Bartók and Bach. Mr. who had barged into the composer’s study one to capture the universality and humanity locked Schiff celebrates the folklore of his Hungarian afternoon and announced that she was hence- within the musical art as well as Beethoven, and heritage with the group Muzsikás and gives a forth going to be his friend. (Bettina liked to the is one of his most endur- recital with baritone Christian Gerhaher. He collect eminent acquaintances—she was a regu- ing legacies. also premieres a Carnegie Hall-commissioned lar correspondent of Goethe, and kept that ven- work by Jörg Widmann, participates in a cham- erable doyen of German culture informed about © 2012 Dr. Richard E. Rodda ber music concert showcasing other pieces by events in Beethoven’s life.) Beethoven developed the German composer, and concludes the series a close relation with the Brentanos in 1811 and with the Salzburg Marionette Theater, when he

1812, later telling his amanuensis and eventual Sheila Rock joins them for Debussy’s La Boîte à Joujoux—a biographer Anton Schindler that they were, at piece created especially for Mr. Schiff by the that time, “his best friends in the world”: he was ndrás schiff was born in Budapest, Salzburg Marionettes. a frequent visitor at the Birkenstock villa, and AHungary, in 1953 and started piano les- Additional North American engagements the Brentanos would occasionally brave entry sons at the age of five with Elisabeth Vadász. include a performance with the Budapest into his lodgings; he improvised at the piano in Subsequently he continued his musical studies Festival Orchestra at the Kennedy Center, the an anteroom when Antonie was not feeling well; at the Ferenc Liszt Academy with Professor Pál Salzburg Marionette Theater at Princeton, and he acted as intermediary for her proposed sale of Kadosa, György Kurtág and Ferenc Rados, and recitals with Mr. Gerhaher in Philadelphia, some rare manuscripts to his patron Archduke in London with George Malcolm. Recitals and Vancouver and Toronto. Solo recitals will be Rudolph. On July 6, 1812, Beethoven poured his special cycles—i.e., the major keyboard works of given in Philadelphia, Boulder, Berkeley and most intimate thoughts into a letter to Antonie, J. S. Bach, Haydn, Mozart, Beethoven, Schubert, Napa. Future North American engagements and then never sent it. That fall, after the death Chopin, Schumann and Bartók—form an im- will focus on a two-season project dedicated to of her father, she and her family moved back to portant part of his activities. Between 2004 and Johann Sebastian Bach. Frankfurt. Beethoven never married. The du- 2009, he performed complete cycles of the 32 Mr. Schiff has worked with most of the ma- rability of his feelings for her, however, may be Beethoven piano sonatas in 20 cities throughout jor international and conductors, but judged by the dedication to her a decade later of the United States and Europe, a project recorded now performs mainly as conductor and soloist. his Diabelli Variations. live in the Zurich Tonhalle and released in eight In 1999, Mr. Schiff created his own chamber or- Except for the half-dozen miniatures com- volumes for ECM New Series. chestra, the Cappella Andrea Barca, which con- prising the Bagatelles, Op. 126, the Diabelli This season, Carnegie Hall has named sists of international soloists, chamber musicians Variations is Beethoven’s last music for piano, Mr. Schiff as one of its prestigious Perspectives and close friends. In addition to working annu- and some of his greatest. The celebrated English artists, where he will focus on Béla Bartók and ally with this Orchestra, he also works every musicologist Sir Donald Tovey compared the the vibrant legacy the composer left on their na- year with the Philharmonia Orchestra London work to Bach’s Goldberg Variations in its stylistic tive Hungary with twelve very special concert and the Chamber Orchestra of Europe. and emotional range and profundity, and then programs. Unique to this series are the many Since childhood, Mr. Schiff has enjoyed assessed that Beethoven’s was “the greatest set of colleagues who will join Mr. Schiff—most of playing chamber music and from 1989 un- variations ever written.” Hans von Bülow, one whom he has known since childhood. In addi- til 1998 was Artistic Director of the interna- of the pianistic titans of the late 19th century, tion to his Hungarian compatriots, Mr. Schiff is tionally praised Musiktage Mondsee cham- called the Diabelli Variations “a microcosm of joined by the Salzburg Marionette Theater for ber music festival near Salzburg. In 1995,

26 CAL PERFORMANCES CAL PERFORMANCES 27 ABOUT THE ARTIST together with Heinz Holliger, he founded the In 2006, Mr. Schiff and the music publisher “Ittinger Pfingstkonzerte” in Kartause Ittingen, G. Henle began an important Mozart edition Switzerland. In 1998, Mr. Schiff started a simi- project. In the course of the next few years there lar series, entitled “Hommage to Palladio” at will be a joint edition of Mozart’s piano concer- the Teatro Olimpico in Vicenza. From 2004 to tos in their original version, to which Mr. Schiff 2007, he was Artist in Residence of the Kunstfest is contributing to the piano parts, the fingerings Weimar. In the 2007–2008, season he was and the , where the original cadenzas Pianist in Residence of the Berlin Philharmonic. are missing. In 2007, both volumes of Bach’s Mr. Schiff has established a prolific dis- Well-Tempered Clavier were edited in the Henle cography, including recordings for London/ original text with fingerings by Mr. Schiff. Decca (1981–1994), Teldec (1994–1997) and, András Schiff has been made an Honorary since 1997, ECM New Series. Recordings for Professor by the Music Schools in Budapest, ECM include the complete solo piano music of Detmold and Munich, and a Special Beethoven and Janáček, a solo disc of Schumann Supernumerary Fellow of Balliol College, piano pieces, the Bach Partitas and his second Oxford. In 2001, Mr. Schiff became a British recording of Bach’s Goldberg Variations. He citizen; he resides in Florence and London and is has received several international recording married to the violinist Yuuko Shiokawa. awards, including two Grammy Awards for Mr. Schiff is represented exclusively by “Best Classical Instrumental Soloist (Without Kirshbaum Demler & Associates, Inc., 711 Orchestra)” for Bach’s English Suites, and “Best West End Avenue, Suite 5KN, New York, New Vocal Recording” for Schubert’s Schwanengesang York 10025. with tenor Peter Schreier, and, for the 49th Annual Grammy Awards in 2007, was nomi- nated for “Best Classical Album (Without Orchestra)” for the second volume of his com- plete Beethoven sonata recordings for ECM. An all-Schumann disc, Geistervariationen, was released in fall 2011. Mr. Schiff has been awarded numerous in- ternational prizes, most recently the Schumann Prize 2011 awarded by the City of Zwickau. In 2006, he became an Honorary Member of the in Bonn in recognition of his interpretations of Beethoven’s works; in 2007, he received the renowned Italian prize, the “Premio della critica musicale Franco Abbiati,” awarded for his Beethoven piano sonata cycle; that same year he was presented with the Royal Academy of Music Bach Prize, sponsored by the Kohn Foundation—an annual award to an individual who has made an outstanding contribution to the performance and/or scholarly study of J. S. Bach; in 2008, he was given the Wigmore Hall Medal in appreciation of 30 years of music- making at Wigmore Hall. In 2009, he was given the Klavier-Festival Ruhr Prize for outstanding pianistic achievements and to honor a lifetime’s work as a pianist.

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