*06.12.1954, Schaffhausen

"Composing is a circling of a nucleus that one does not quite reach. In the end there is still dissatisfaction - that will then be the next composition."

"Art is world experience, is knowledge, is emotional education. But this also requires the awareness that some things have not yet been understood. That's how I feel. And that doesn't just apply to Contemporary Music. Even Mozart will never be fully understood."

Beat Furrer
(citations: Interview with Maria Scholl for APA, source: www.oe1.orf.at)

Beat Furrer explores music in all its sound spaces and expandings. Each work emerges anew from an attitude of exploring unknown possibilities. The piano is constantly an important theme in his works, both as a solo instrument and in chamber music. Among his most important piano compositions are the Piano Concerto (2007), Phasma (2002) and the "Drei Klavierstücke" (2003/2004).

Discover Beat Furrer's music enjoying the PIANOVERSAL listening tips!


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*24.10.1925 Oneglia - 27.05.2003 Roma

"The truth, we cannot speak about, we must sing, we must say it in music. And with this I bid you farewell."

"Our relation to music must remain open, in a way. This is the privilege of music, not to let itself be formalized, to be locked in a certain procedure, in a certain way."

Luciano Berio

For Luciano Berio, music is an idea that can be physically experienced. His view of music is uncompromisingly aimed at the future. Berio's most important piano works include the late Piano Sonata (2001), the frequently played 6 Encores (1965-1990), the Sequenza IV (1966), the Concerto II for Piano & Orchestra "Echoing Curves" (1988-89) and the Concerto for 2 Pianos & Orchestra (1973).

Discover the PIANOVERSAL listening tips with piano music by Luciano Berio!

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*17 June 1919, Petrograd - 22 December 2006, Petrograd

“It is difficult to talk about one’s own music ... my ability to compose music unfortunately does not coincide with the ability to write about it. There is, by the way, a commonly held view which says that the two are mutually exclusive ...” Galina Ustvolskaya

Galina Ustvolskaya was a restless creator. The elemental and the simple are just as characteristic in her music as the crazy outburst, the cry from the deepest soul. With idiosyncratic instrumentations she explored new combinations of sound. Examples include Composition I: "Dona nobis pacem" (1971) for piccolo, tuba and piano or Composition III: "Dies Irae" (1973) for 8 double basses, wooden cubes and piano. In her 6 sonatas for piano (1947-1988) Ustwolskaja pursued an uncompromising path with her pianistic materials for decades. Her Concerto for Piano, String Orchestra and Timpani from 1946 marks the beginning of her involvement with the piano.

“All who really love my music should refrain from theoretical analysis of it ...” Galina Ustwolskaja

Discover the PIANOVERSAL listening tips with piano music by Galina Ustvolskaya!

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*2.04.1947, Borlänge - 20.05.2013, Stockholm

„Substance, form, shape: all must form a single unified whole! If you try to divide them, you’re done for.”

"All the activities are always related to the same basis, the underlying harmonic flow. If you walk out in the noonday sun, you can see many things of all shapes and sizes everywhere, but they all relate to the sun. Because the sun is shining. It’s the same sort of connection when we talk about music. About the many occurrences and activities within a minimum of time.“
Anders Eliasson (interview with Christoph Schlüren, 1996)

In his music Anders Eliasson found his own, personal "alphabet", as he called it himself. Eliasson's music is shaped by a continuous coherence and a constant inner connection. He composed several pieces for piano, starting with the very expressive "Versione" in 1973, his "Disegno" cycle (1984-2005) being in the center of his output for piano and harpsichord. One of Eliasson's last compositions was his playful "Doppio Concerto" for violin, piano & orchestra (2005).

Enjoy the PIANOVERSAL listening tips with piano music by Anders Eliasson !

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