SECOND EDITION 2025 14-16 NOV 2025
BERLIN - LONDON - VIENNA - PARIS
A MUSIC CELEBRATION FEATURING PIANO MUSIC IN EUROPEAN SALONS
SECOND EDITION 2025 14-16 NOV 2025
BERLIN - LONDON - VIENNA - PARIS
A MUSIC CELEBRATION FEATURING PIANO MUSIC IN EUROPEAN SALONS
FRIDAY 14 NOV 2025
7PM Raffles Hotel-Le Royal
Grand Opening
SATURDAY 15 NOV 2025
7PM Raffles Hotel-Le Royal
A Piano Recital
SUNDAY 16 NOV 2025
7PM Raffles Hotel-Le Royal
Finale – A Piano Recital
SUNDAY 16 NOV 2025
RAFFLES HOTEL-LE ROYAL
6:00 – 6:30 PM Pre-Concert Talk given by
the musicologist Prof. Dr. Monika Hennemann
Cardiff University School of Music, Wales
Enrich your concert experience with insights
into the music, background information on the works,
and the lives of the composers.
Free admission
………………………………………
7PM CONCERT – GRAND FINALE
RAFFLES HOTEL-LE ROYAL
Piano recital with Dimitri Malignan
PROGRAM
FELIX MENDELSSHON
(1809-1847)
Lieder ohne Worte (Songs Without Words)
Op. 19/1
Op. 19/6 “Venetianisches Gondellied”
Op. 62/6 “Frühlingslied”
Lieder ohne Worte are miniature piano pieces intended to convey the expressive, vocal quality of a song—melody with accompaniment—but entirely on the piano. Each piece captures a distinct mood or character, often reflective, lyrical, or poetic. Mendelssohn called them “songs” because they imitate the expressive capabilities of the human voice, but without lyrics. They helped define the Romantic piano repertoire and remain beloved for their emotional immediacy, elegant craftsmanship, and timeless charm.
Lieder ohne Worte were composed for intimate salon settings and domestic music-making. Mendelssohn himself played them in private gatherings among friends, family, and patron
FRÉDÉRIC CHOPIN
(1810-1849)
Polonaise Op. 26/1
Polonaise Op. 26/2
Mazurka Op 24 /4
Mazurka Op. 7/1
Mazurkas and Polonaises are traditional Polish dances deeply embedded in Polish culture.
Chopin was born in Żelazowa Wola, Poland (1810) and grew up surrounded by Polish folk music and customs. Both dance forms symbolized Polish national identity, especially important during Chopin’s lifetime when Poland was partitioned and under foreign rule. Chopin elevated mazurkas and polonaises from folk dances to profound piano compositions. He infused them with lyricism, harmonic sophistication, and expressive depth.
Chopin’s mazurkas and polonaises were primarily performed in Parisian salons and private gatherings, settings that matched their intimate and expressive character. Though sometimes featured in concert halls, these pieces thrived best in smaller, refined environments where their emotional subtlety could be fully appreciated.
ROBERT SCHUMANN
(1810-1856)
Faschingsschwank aus Wien, Op. 26
(Carnaval de Vienne)
1. Allegro (B♭ major)
2. Romanze (G minor)
3. Scherzino (B♭ major)
4. Intermezzo (E♭ minor)
5. Finale (B♭ major)
Faschingsschwank aus Wien, Op. 26 by Robert Schumann is a lively piano suite inspired by the festive carnival atmosphere of Vienna. Composed in 1839, it consists of five contrasting movements that mix humor, wit, and playful energy, reflecting Schumann’s imaginative storytelling through music. The work showcases his Romantic style with expressive melodies and rhythmic vitality, capturing the joy and unpredictability of carnival celebrations.
It showcases Schumann’s unique blend of Romantic expressiveness with a playful, almost theatrical character, pushing piano music beyond traditional forms. The piece reflects the 19th-century trend of program music—music that tells a story or paints a scene—capturing the lively spirit of Viennese carnival, which connects listeners emotionally and imaginatively. It influenced later Romantic composers in how character pieces could combine humor, narrative, and virtuosic piano writing, blending literary and musical ideas.