Recital

The Greek Myth and the Piano

A recital program exploring Greek mythology as a source of inspiration

I
M. CLEMENTI
Sonata in g minor, Op. 50, No. 3, "Didone Abbandonata”

Y. KOSTANTINIDIS
Huit Danses des Îles Grecques

C. DEBUSSY
Danseuses de Delphes (Préludes v.1, n.1) • L'Isle Joyeuse

II
J. Ph. RAMEAU
L’Entretien des Muses • Les Tourbillons • Les Cyclopes

HADJIDAKIS
Ya Mia Mikri Ahivada, Op. 1 (For a Little White Seasheel)

F. LISZT
Orpheus • Prometheus

From the PROGRAMME NOTES, by  Alexandros Kapelis
“The vast wealth of the Greek myth, with its superb and astonishing philosophical explorations, has exercised an inescapable force on the creative minds of all eras.  The visual arts and literature have been the most evidently vulnerable to the universal appeal and transcendence of the Greek myth, while Opera, since its inception, has been dominated by the power of its heroic and tragic figures.  Absolute or “pure” music has not been immune to classical antiquity, its fascination extending to the piano repertoire. With keyboard works by Rameau, Clementi, Liszt, Debussy, Kostantinidis, and Hadjidakis, this recital program draws its inspiration from Greece and Greek mythology.

 
  • "A rarity among his generation, Kapelis plays expressively and evocatively. His emotional and psychological explorations into music make him one of the most promising young classical musicians of any nationality in New York today."
    INTERNATIONAL PRESS SERVICE- IPS (New York)
  • "Kapelis threw himself forcefully into the wild raptures of Claude Debussy's "The Joyous Island" and expertly limned the classical poise of his "Dancers of Delphi."
    THE WASHINGTON POST (Washington, D.C.)
  • "There is in his playing a precision of rhythm, a dedication to clarity and a clear attentiveness to form. One can almost see him listening to the composer’s voice. This was especially obvious in the concluding piece of the program, Rachmaninoff’s Études-Tableaux, Op. 33. Closest to Kapelis’ essence as a musician, these miniature tone poems require dramatic expressiveness, but it is an expressiveness best served by containment and control… Kapelis engaged that challenge with a driving energy, under which must beat a passionate heart."
    PIEDMONT POST (San Francisco)
  • "Kapelis does not indulge aimlessly from one note to the other, neither does he linger unnecessarily. Thus, he sounds neither vulgar nor flashy. On top of that, he masters lyricism and passion convincingly and with bravura."
    THE ORIZZONT (Valetta, Malta)
  • "Kapelis proved to be a well-schooled performer of Scarlatti, achieving the always-difficult adaptation from the current piano to the baroque clavicembalo. The artist once more was faithful to the pristine text... Kapelis displayed his traits as a virtuoso of the keyboard, without any concession to the public nor to decadent sentimentality. "
    DIARI DE BALEARS (Mallorca, Spain)