beethoven's 32 piano sonatas robert silverman - Music on Main

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Sonata No. 24 in F-sharp, Op. 78 composed 1809, published 1810 This is first of three relatively brief <strong>piano</strong> <strong>sonatas</strong> that appeared four years after the Appassionata. Its brevity, however, is not an indication that it is a slight work; indeed, Beethoven claimed that this sonata was one of his favorites. (Presumably, he was sufficiently objective not to allow his special affection for the sonata’s dedicatee, Therese von Brunsvik, as well what may have been more than affection for her sister Josephine, to color his judgment.) Anyone believing that keys lost their distinctive personalities following the introduction of the well-tempered system of tuning need not look further than this sonata. Try playing the introduction in G or F major, then play it in the proper key of F#. The difference is astonishing; the piece becomes so dark, so haunting! No wonder Beethoven wouldn’t have been bothered in the slightest by the fact that the pianist has to “walk on eggs” in order to play the rest of the sonata! The miraculous four-measure introduction sets the stage and the mood of the remainder of the movement, with the cantabile feeling moderating all the harmonic and rhythmic contrasts that follow. The main theme of this exuberant, kaleidoscopic second movement is based on a three-note idea that appears inconspicuously in the first movement, followed immediately by the refrain, Brittannia rules the Waves, from Thomas Arne's anthem Rule Brittania. (This could be a coincidence, although Beethoven knew the theme well, having composed a set of <strong>piano</strong> variations on the English melody in 1803.) Good humour abounds through the continuous two-note chirrups, the sudden changes in register, and even the sharp major-minor shifts. One of the movement’s finest touches occurs just prior to each return of the main theme, when the composer keeps us guessing about exactly when it will happen. Also in evidence is Beethoven’s genius for knowing precisely how to end a movement. <strong>Music</strong> on Main presents Silverman plays Beethoven. September 27, 2010 – April 5, 2011 at the Cellar Restaurant & Jazz Club. www.musiconmain.ca Programme notes by Robert Silverman. © Robert Silverman
Sonata No. 25 in G Major, Op. 79 composed 1809, published 1810 This is the second of three relatively brief <strong>sonatas</strong> that followed the Appassionata. Beethoven described it in a letter to his publisher as Sonatine facile. However, although of sonatina length, it is not sonatina-like in its detailed working out; nor is it particularly facile to jouer. The opening movement is marked Presto alla Tedesca (i.e. a fast waltz). Toward the beginning of the Development section, Beethoven discovered that, if you eliminate the first note of the opening three-note theme, you are left with a falling motive that sounds like a cuckoo clock. His amusement at this discovery knows no bounds! He repeats it for us time and time again. Then, at the end of the movement, he has another go or two at the idea, just to ensure we have not forgotten his jest. The lilting, melancholy second movement forecasts the Venetian Boat Songs of Mendelssohn, while the finale is a miniature rondo in which the main theme alternates with two epigrammatic sections. (Beethoven would use that theme again in the first movement of the sonata, Op. 109.) The coda provides a surprise ending that perfectly sums up the jocular mood of this delightful movement. <strong>Music</strong> on Main presents Silverman plays Beethoven. September 27, 2010 – April 5, 2011 at the Cellar Restaurant & Jazz Club. www.musiconmain.ca Programme notes by Robert Silverman. © Robert Silverman
Page 1 and 2: Programme notes BEETHOVEN’S <stro
Page 3 and 4: Sonata No. 2 in A major, Op. 2/2 co
Page 5 and 6: Sonata No. 4 in E flat, Op. 7 compo
Page 7 and 8: Sonata No. 6 in F Major, Op. 10/2 c
Page 9 and 10: Sonata No. 8 in C Minor, Op. 13 “
Page 11 and 12: Sonata No. 10 in G Major, Op. 14/2
Page 13 and 14: Sonata No. 12 in A flat Major, Op.
Page 15 and 16: Sonata No. 14 “quasi una Fantasia
Page 17 and 18: Sonata No. 16 in G Major, Op. 31/1
Page 19 and 20: Sonata No. 18 in E flat Major, Op.
Page 21 and 22: Sonata No. 21 in C, Op. 53 “Walds
Page 23: Sonata No. 23 in F minor, Op. 57
Page 27 and 28: Sonata No. 27 in E minor, Op. 90 co
Page 29 and 30: Sonata No. 29 in B-flat Major, Op.
Page 31 and 32: Sonata No. 30 in E Major, Op. 109 c
Page 33: Sonata No. 32 in C

beethoven's 32 piano sonatas robert silverman - Music on Main

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