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About Ballade no. 3 in A flat major, Op.47

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See 5 performances with Ballade no. 3 in A flat major, Op.47
Composed by: Chopin, Fryderyk Franciszek (1810-1849)
Year composed: 1841

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Date and venueTitle
21-Jan-2013
Wigmore Hall
A feast of virtuosity: Yevgeny Sudbin at Wigmore Hall
Image credit: Yevgeny Sudbin © Clive BardaIt is rare to be at a concert where one is utterly captivated from the first note until the very last has faded to silence, but such was the effect of Russian pianist Yevgeny Sudbin on a packed Wigmore Hall at his lunchtime recital of works by Scarlatti, Chopin, Liszt, Scriabin and Saint-Saëns.
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5-Nov-2012
Gresham's School: Auden Theatre
Freddy Kempf creates a sizzling spectacular for Bonfire Night in Holt
Image credit: Freddy Kempf © Neda Navaee 2010An altogether warmer experience on Bonfire Night was enjoyed at Holt’s Auden Theatre, for a performance by one of today’s most successful and busy concert pianists, Freddy Kempf. Perhaps most famous for not coming first in the Tchaikovsky International Piano Competition in Moscow in 1998, Kempf has since enjoyed a busy international concert and recording schedule, playing with many of the world’s great orchestras in the world’s greatest venues.
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29-Mar-2012
Southbank Centre: Queen Elizabeth Hall
Command and Refinement: Leif Ove Andsnes at Queen Elizabeth Hall
Image credit: Leif Ove Andsnes © Özgür AlbayrakThe excellent International Piano Series at the Southbank Centre continued with a fine recital of music by Haydn, Bartók, Debussy and Chopin by acclaimed and very popular (judging by the full house) Norwegian pianist Leif Ove Andsnes.
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14-Feb-2012
St George's Bristol
Love for the Piano: Freddy Kempf at St George’s Bristol
Image credit: Freddy Kempf, © Tim Hamilton 2010Love was definitely in the air at Freddy Kempf’s St. Valentine’s Day Concert. He gave a passion-filled performance of Beethoven’s Sonata in C minor, Op. 13, ‘Pathétique’ to open the night, which was fitting with the nature of the title. The true ‘Pathétique’ should have passionate expression that should be felt by the heart and transcend mere variations in tempo. Kempf mastered all three movements and what was so important was that he was not afraid to use silence for effect in the music.
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