© Matthew Percival

‘'..there was no mistaking the shape he gave to the music, the interpretative ingenuity and mischievous wit, and I came away wanting to hear more’'
Norman Lebrecht

''..a born communicator...’'
The Independent

‘'...fearless virtuosity’'
Musical Criticism

"Karim Said was the assured piano soloist, allying clear and robust articulation with an intelligence of phrasing way beyond his years’'

‘'Said is impressive technically, but even more so in that he makes what he plays flow naturally, as if it just "is". Hard to explain. I was close enough to watch his fingers, unexpectedly delicate, fly across the keys. No flamboyant bravura, rather an effortless elegance and grace.’'
Classical Iconoclast


12 HAZİRAN 2018 Salı 20:00

İstanbul Resitalleri 11. Sezon Finali, Daniel Barenboim'ın keşfi Ürdün'lü piyanist Karim SAID ile gerçekleşiyor.

Karim Said'i 10 yaşında keşfeden dünyaca ünlü şef Daniel Barenboim'ın onu dinler dinlemez "Ona ne öğretebilirsiniz ki o zaten herşeyi biliyor!" dediği dahi piyaniste dünyanın önde gelen eleştirmenlerinden Norman Lebrecht de "...onu daha da fazla dinlemek istiyorum!" sözleriyle referans oluyor.

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2009'da İngiliz şef Sir Colin Davis'in (1927-2013) batonu altında İngiliz Oda Orkestrası eşliğinde Londra Barbican Center ve BBC Proms kapsamında Daniel Barenboim'ın batonu altında West Eastern Divan Orkestrası eşliğinde Royal Albert Hall'da gerçekleşen müthiş performansları Karim Said'in profesyonel kariyerinde bir dönüm noktası oldu.

1988'de Ürdün'ün başkenti Amman'da doğan ve Berlin'de yaşayan sanatçı, ilk piyano derslerini Rus hocası Agnes Bashir-Dzodtsoeva'dan aldı. 2000 yılında, 12 yaşındayken İngiltere'ye taşındı. Dünyanın en gözde müzik okullarından Purcell'de ve daha sonra Royal Academy of Music'te piyano, beste ve şeflik dersleri aldı. Her iki okula da tam bursla kabul edildi. 2008'de Purcell tarafından 'Karim's Journey' adını taşıyan dökümantasyon bir film hazırlandı. Film, İngiliz BBC4 kanalı prodüksiyonunda Christopher Nupen tarafından çekildi.

Karim Said'in bugüne kadar sahneye çıktığı salonlar arasında Ottowa'da National Arts Center, Milano'da La Scala, Londra'da Royal Albert Hall, Cadogan Hall ve Southbank Centre, Moskova'da Tchaikovsky Hall, Tokyo'da Musashino Civic Cultural Hall gibi prestijli salonlar, davet aldığı festivaller arasında Fransa'da La Roque D'Antheron, Lucerne ve ‘'Piano Aux Jacobins'' festivalleri, Avusturya'da Salzburg Müzik Festivali, İngiltere de "International Piano Series" ve "The Rest is Noise festival" sayılabilir.

Program üzerine sanatçıdan notlar:
Schoenberg considered himself an eternal pupil of Beethoven and Brahm. He was also interested in older music – as seen in his Suite Op. 25. Brahms was one of the first musicians in the 19th Century to take an interest in Renaissance music and also considered himself an eternal disciple of Beethoven’s. Schoenberg and Byrd have been compared as similar musical figures of their time – with a strong influence on the subsequent generation of composers. The treatment of dissonance in modal and atonal music has always been a source of fascination for me – especially with Schoenberg coiling the quasi political phrase ‘the emancipation of dissonance’, implying a strong emotional charge to this subject. There is something equally liberating in the treatment of discord in Renaissance music, which is why I place these pieces side by side. Influence and legacy are very significant here; either through composers communicating with each other directly as teachers and students (Schoenberg and Webern as well as Byrd and Tomkins) or across generations through an almost religious dedication to preserving tradition (Beethoven–Brahms–Schoenberg-Webern). Although Schoenberg’s op. 11 would have been premiered on an instrument very similar to our contemporary grand piano, the rest of the programme was written for instruments that either functioned in an entirely different way (such as the virginals used in 16th Century England with their plucked strings) or that were ancestors of our current concert grand, such as the ‘Fortepiano’ in Beethoven’s day or the softer, more mellow instruments that Brahms would have known. William Byrd and Thomas Tomkins simply couldn’t have imagined the sound of our pianos today, but as they were quite liberal with their choice of the many types of Virginals at the time, I’d like to think that they would have loved the sustaining power of our modern pianos considering their writing in choral and string music.

William Byrd (1540-1623) is considered one of the greatest sixteenth century English composers to have ever lived. He was given the prestigious position of ‘Master of the Choristers’ at Lincoln Cathedral at the age of twenty, marking the start of a long and fruitful career of nearly six decades. He wrote extensively about his own music and the process of its composition in much the same way that Arnold Schoenberg did – highlighting also his need to communicate his ideas on music as gifted teacher. This must have been fascinating for his student. Writing in virtually every style of his day, he produced religious choral music in both Latin and English, secular songs (with and without instrumental accompaniment), and instrumental music for keyboard and strings. At a time when it was dangerous to be a Catholic in Protestant England, he held on firmly to this faith and continued to write music for clandestine Catholic services. His work ‘Qui Passe’ comes from the album ‘My Ladye Nevells Booke’ which contains forty of Byrd’s most important keyboard works. This is a set of variations based on a popular Italian theme of the day which was circulating around Europe.

Arnold Schoenberg (1874-1951) moves away from the 19th Century romantic style of writing for the piano through these pieces. He indulged in the expressionist nature of music as he saw it, rather than the virtuosic celebration of the instrument. Although the first two pieces are still steeped in the Austro –German tradition of systematic composition, with a clear nod to his idols Beethoven and Brahms, he breaks away in the third piece, quite radically. Schoenberg’s letter to his friend, the great pianist and composer Ferruccio Busoni, describes accurately his new path: ‘’My music must brief. Concise! In two notes: not built, but ‘expressed’ ‘’This is also the period when Schoenberg begins to break away from what he considered to be the constraints of tonality. Although his music has still not received popular fame, his influence on the next generation of composers from Alban Berg, to Anton Webern, to John Cage and even to Pierre Boulez in the second half the last century, was immense.

Johannes Brahms (1833 – 1897) Whilst working on the string sextet op. 18 in Bb Major, Clara Schumann heard Brahms try the work out at the piano and developed an immediate love for the second movement; the Theme and Variations in D minor on an original theme. She requested a piano arrangement for her own performance and was duly given one as a gift for her birthday in 1860. Although this is fundamentally a direct transcription in nature, Brahms faces the expected pianistic challenges of arranging the parts of six independent instruments for just two hands with innovation and creativity – creating an entirely independent pianistic language.

Thomas Tomkins (1572-1656) was the longest living student of William Byrd’s. A composer and organist who was deeply inspired by his teacher, Tomkins wrote keyboard works, secular and religious choral works and consort music. As Byrd did in his My Ladye Nevells Booke, Tomkins elevates the popular dance-hall rhythms of the Pavan and Galliard into harmonically complex pieces of keyboard writing, with clear evidence of the improvisatory style practiced in his day. This particular set is dedicated to the memory of Lord Strafford, who was executed around six years before the completion of this work, by order of King Charles I of England. It has a very serious, sombre character highlighted by the fateful repeated notes in the opening of the Pavan. Although the Galliard starts with an energetic swing, it soon reveals itself as a deeply meaningful exploration of modal harmonies and the ornamented passages that lay above them.

Anton Webern’s (1883-1945) complete works fit on to only three CDs. Out of all the composers in the so called Second Viennese School, Webern produced the most concise works. The Austrian composer was Schoenberg’s favourite student as he applied his master’s methods most rigorously, while developing his own individual voice as a composer. These two piano pieces are perfect examples of the cell-like gestures found in his music. The first one is a ‘Piano Piece in the tempo of a Minuet’ and the second is a piece for children.

Ludwig van Beethoven (1770–1827) The Variations and Fugue for Piano in E♭ major, Op. 35 were composed in 1802. They are known as the ‘Eroica Variations’ because of the shared theme with the final movement of his Symphony No. 3 ‘Eroica’ composed just one year later. The theme itself was probably inspired by Muzio Clementi and Beethoven also used it in The Creatures of Prometheus (1801) as well as for in his Contredanses, WoO 14 (1800-02) before writing the symphony – so clearly, the development of this theme was an important process for the composer.

Karim Said, Opus Arte etiketiyle Ocak 2015'te yayınlanan 'Echoes from an Empire' adını taşıyan ilk solo albümünde Alban Berg, George Enescu, Bela Bartok, Anton Webern, Leos Janacek ve Arnold Schoenberg'in eserlerini seslendirdi. Sanatçının kayıtlarını henüz bitirdiği yeni albümü ise bu sene Kasım 2018'de piyasaya çıkıyor öncesinde ise albümün prömiyeri, Berlinde 4 Ekim'de Pierre Boulez Saal'da vereceği resital ile gerçekleşiyor.


Mozart Concerto with Czech Philharmonic

LISZT : Rigoletto Paraphrase



WILLIAM BYRD (1540 - 1623)
Qui Passe

Üç Piyano Parçası, Op.11
I. Mässige Viertel
II. Mässige Achtel
III. Bewegte Achtel

Varyasyonlar Re Minör, Op.18b


THOMAS TOMKINS (1572 - 1656)
Pavan & Gaillard "Lord Strafford"

ANTON WEBERN (1883 - 1945)
İki Piyano Parçası

LUGWIG van BEETHOVEN (1770 -1827)
"Eroica Varyasyonları"
15 Varyasyon ve Füg, Mi bemol Majör, Op.35

Piyano: Steinway & Sons Concert Grand D
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Resitaller, tam belirtilen saatte başlar ve kapılar kapanır. Alkış arasında kapılar açılmaz. Geç kalan konuklar resitalin sadece ikinci yarısını izleyebilirler. (Ara verilmeyen resitallerde bu uygulama yapılamamakta, geç kalanlar resitali izleme olanağını kaybetmektedirler.) Konukların resital başlama saatinden en az 30dk. önce saat 19:30'da salonda bulunmaları, en geç 19:55'te salonda yerlerini almış olmaları önerilir. İstanbul Resitalleri, tarih sanatçı ve yer değişikliği yapma hakkını saklı tutar. 12 yaşından küçükler alınmaz.

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Natasha Paremski & Zuill Bailey
12 Mayıs 2017
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Lucas & Arthur Jussen
3 Ekim 2018
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