Saturday / August 28 / 5:00 p.m. / Church of St. John Nepomucene
KONSTANTIN LIFSCHITZ – BEETHOVEN VII
The complete 32 Piano Sonatas by Ludwig van Beethoven (1770–1827) – Programme VII
Sonata for Piano No. 27 in E minor, Op. 90
I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
II. Nicht zu geschwind und sehr singbar vorzutragen
Sonata for Piano No. 28 in A major, Op. 101
I. Etwas lebhaft und mit der innigsten Empfindung.
Allegretto ma non troppo
II. Ziemlich lebhaft. Marschmäßig. Vivace alla Marcia
III. Langsam und sehnsuchtsvoll – Zeitmaß des ersten Stücks.
Adagio ma non troppo con affetto – Tempo del primo pezzo
IV. Geschwinde, doch nicht zu sehr, und mit Entschlossenheit.
Sonata for Piano No. 29 in B flat major, Op. 106
II. Scherzo. Assai vivace
III. Adagio sostenuto. Appassionato e con molto sentimento
IV. Largo – Allegro risoluto Fuga a tre voci, con alcune licenze
Konstantin Lifschitz – piano
The diversity of forms and contents that may be bracketed within the term “sonata” is in the case of Beethoven wider than the scope covered there by any other composer. For its part, the Sonata in E minor, Op. 90, features a solemn first movement followed by a rondo in a major key. Its melody is so plain and straightforward that it evokes in the listener an impression of deeply embedded familiarity.
At the age of forty-five Beethoven, having reached the peak of his creative genius, the master whose art towered above his contemporaries, embarked on an uncharted journey. His inexhaustible creative power and iron will urged him on, beyond the horizon. The Sonata, Op. 101 exemplifies the output of the third, final stage of his career, the period of the last sonatas and quartets, Symphony No. 9 and Missa Solemnis. Doubtless under the impact of his deafness, Beethoven now decided to resign on elements of superficial bravura and concert-platform effect. His late output is comprised of musical soliloquies composed without any regard for the spectacular. These are his personal answers to questions concerning the meaning of life and art – personal yet never self-centered, but always focused on humankind as a whole. All that said, he did still decide, for the last time, to write one more grand concert sonata exemplified in his output by the “Waldstein” or “Appassionata” , and he did so with Opus 106. Its monumental scale and the extreme demands it poses on the pianist are indeed breathtaking. Interestingly, this particular sonata also demonstrates the development, in the course of Beethoven´s lifetime, in the design of pianos: it could hardly be performed on the delicate, narrow-range late-18th-century pianos.
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