Pianist Inon Barnatan makes his Kennedy Center debut with a program of selections by Ravel, Debussy, Ades and Britten from his latest solo recording, “Darknesse Visible,” and Schubert’s Sonata in A major. His bow to Schubert reflects his love of the composer who is the focus of both his first solo recording and the third due out next spring.
“I’ve been living with some of the pieces in this program many years,” he said. “As I learned each, I felt some connection between them. Ravel’s ‘Gaspard de la nuit’ and Debussy’s ‘Suite bergamasque’ were inspired by poetry and so is ‘Darknesse Visible’ by contemporary British composer Thomas Ades. He based the work on John Milton’s ‘Paradise Lost’ and a song by lutenist John Dowland, both written during the 17th century. I’ve always appreciated imagination and inspiration and discovering how musicians take something by poets and writers and make it their own.
“Choosing to add a specific work to my repertoire is an individual experience. I can’t tell why I’m attracted to a piece of music except that it must speak to me, just as one is sometimes drawn to a particular painting while walking through a museum. Although I perform many traditional works, I’m also excited by contemporary composers. This season, I’ve commissioned pieces by American composer Sebastian Currier and German composer Matthias Pintscher, who has written for all the major orchestras. I’m especially pleased that he has agreed to write for the piano.”
Born in Israel, Barnatan gravitated to the family’s upright piano at a very early age. His parents, astounded to discover that he had perfect pitch, found a teacher for him. He was only 11 when he won a competition at Tel Aviv Conservatory and was invited to make his orchestral debut playing a Mozart concerto.
» Where: Kennedy Center Terrace Theater, 2700 F St. NW
» When: 2 p.m. Saturday
» Info: $38; 202-467-4600; 800-444-1324; kennedy-center.org
| Onstage |
| Inon Barnatan |
As a chamber musician, Barnatan has played with a variety of orchestras and ensembles from Shanghai to Amsterdam. One of his favorite associations is with the Academy of St. Martin in the Fields, which he joins once again in the spring for a United States tour of 16 cities.
“Although I enjoy chamber music, I love being a solo artist equally well because of the intimacy. I feel like I’m speaking directly to the audience. There’s no place to hide because I’m responsible for and have control over all aspects of the concert and its creativity.”
