Friday / June 11 / 5:00 p.m. / Church of St. John Nepomucene
KONSTANTIN LIFSCHITZ – BEETHOVEN VI
The complete 32 Piano Sonatas by Ludwig van Beethoven (1770–1827) – Programme VI
Sonata for Piano No. 22 in F major, Op. 54
I. In Tempo d’un Menuetto
II. Allegretto – Più Allegro
Sonata for Piano No. 23 in F minor, Op. 57 “Appassionata”
I. Allegro assai
II. Andante con moto
III. Allegro ma non troppo – Presto
Sonata for Piano No. 24 in F sharp major, Op. 78
I. Adagio cantabile – Allegro ma non troppo
II. Allegro vivace
Sonata for Piano No. 25 in G major, Op. 79
I. Presto alla tedesca
Sonata for Piano No. 26 in E flat major, Op. 81a, “Les Adieux”
I. Das Lebewohl. Adagio – Allegro
II. Abwesenheit. Andante espressivo
III. Das Wiedersehen. Vivacissimamente
Konstantin Lifschitz – piano
Flanked by the “Waldstein” Sonata and its “reverse side”, the “Appassionata”, the Sonata in F major is much more modest in terms of both scale and import. It would almost seem to be a torso, or an unfinished plan for something greater.
In its turn, the Sonata in F minor, Op. 57 is immensely popular. It, too, exerted far-reaching influence on an entire epoch in music that ensued. Its impact on the listener is indeed overwhelming. Here, Beethoven uses the keyboard to build up a thrilling drama of Shakespearean dimensions. The main theme emerges out of nowhere, ghost-like, and suddenly a battle is unleashed on an interplanetary scale. With the “Appassionata”, Beethoven adds finishing touches to the type of large-scale concert sonata. With the devices at his disposal, he could not reach further as regards dramatic impact.
The following Sonata in F sharp major is much more intimate, tender and poetic, on a scale limited to two movements. Much valued by Beehoven himself, it may have been linked with some purely personal connotations.
The Sonata in G major can be characterized as a sonata facile, a simple piece and obviously a byproduct of the composer´s work on the “Emperor” Concerto.
A personal undertone is clearly present in the Sonata in E flat major, Op. 81a – Beethoven superscribed its three opening chords with the note “Lebewohl!” (“Farewell!”), in response to a situation where his friend and patron, the Archduke Rudolf, had to leave Vienna besieged by Napoleon´s armies. Its message is ultimately optimistic, though, as the movement denoted Parting is duly followed by Reunion.
sleeve-note: Dita Hradecká / translation: Ivan Vomáčka
Complete 32 Piano Sonatas by Ludwig van Beethoven (1770–1827)
BEETHOVEN II / The Birth of a Genius / Monday, June 7
Sonatas Opp. 10 & 22
BEETHOVEN III / Pathétique / Tuesday, June 8
Sonatas Opp. 13, 14 & 49
BEETHOVEN IV / Moonlight / Wednesday, June 9
Sonatas Opp. 26, 27 & 28
BEETHOVEN V / Tempest / Thursday, June 10
Sonatas Opp. 53 & 31
BEETHOVEN VI / Appassionata / Friday, June 11
Sonatas Opp. 54, 57, 78, 79 & 81a
BEETHOVEN VII / Monument / Saturday, June 12
Sonatas Opp. 90, 101 & 106
BEETHOVEN VIII / Towards New Shores / Sunday, June 13
Sonatas Opp. 109, 110 & 111