THE FIRST AND SECOND VIENNESE SCHOOL

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PART I
J. Haydn: Piano Sonata in E Minor, Hob. XVI
                Natalia Giannaki
A. Berg: Piano Sonata, Op. 1
              Foivos Filkas
W. A. Mozart: Sonata for Two Pianos in D major, KV 448
                      Sapfo Koutroumanidou, Tatiana Nikolopoulou
 
PART II
A. Schönberg: 6 Pieces for Piano, Four Hands
                       Athanasios Katsaras, Stelios Iosif
L. v. Beethoven: Piano Sonata in F sharp major, No. 24, Op. 78
                          Dimitrios Mexis                                            
A. Webern: Variations for piano, Op. 27
                   Dimitrios Mexis
F. Schubert: Piano Sonata, 4 hands in B flat major, Op. 30, D 617
                    Maria Vlachodimou, Athanasios M. Ramadanidis

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Imperial Vienna became the musical centre of Europe at a time when the form of the classical sonata was being established and flourishing.
The unique presence of composers with an international stature in the late 18^th and early 19^th century –Haydn, Mozart, Beethoven and Schubert– as well as the rapid development of the piano and its widespread use in aristocratic and bourgeois circles, laid the ground for a quantitative and qualitative explosion of the piano repertoire, which today is a part of the cultural heritage of the whole world.
A century later, Vienna was once again the starting point for musical innovation with a global impact, as in the early 20^th the so-called Second Viennese School emerged, with the twelve-tone technique of Arnold Schönberg and his students Alban Berg and Anton Webern.
The programme of this concert contains two classical sonatas by Haydn and Beethoven, while with Schubert’s Sonata it overshadowed the then widespread format of “one piano – four hands” and with Mozart’s famous Sonata that of two pianos – four hands ”.
The Second Viennese School is represented by an early Schönberg work for piano – four hands, by Berg’s unique Piano Sonata and, finally, by a pure twelve-tone piece, the Variations by Webern.