Reflecting Beethoven
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Label: C-AVI
Cat No: AVI8553016
Format: CD
Number of Discs: 1
Genre: Instrumental
Release Date: 18th September 2020
Contents
Works
Piano Sonata no.8 in C minor, op.13 'Pathetique'Piano Sonata no.16 in G major, op.31 no.1
Piano Sonata no.17 in D minor, op.31 no.2 'Tempest'
Pathetique Variations
Coups de des en echos
Piano Sonata in D minor
Artists
Herbert Schuch (piano)About
‘Beethoven has been pressed into many categories. At times he was seen as the great Titan, at others as an idealist; later approaches occasionally attempted to “de-emotionalize” his music. He simply had an incredible ability to be many things, but his music was never dispassionate. Beethoven could even sound overemotional, and then display dry wit! I see him at a crossroads in music history where he was occasionally still allowed to write plain, simple music, and I find that thoroughly moving.
‘I’m always searching for connections across the centuries. Composers relate to one another, consciously or unconsciously. Henri Pousseur wasn’t thinking at all about Beethoven’s G Major Sonata. When I was thirteen years old, I performed the Pousseur piece at the European Youth Music Competition: it was a compulsory piece, and I won a special prize. It was the first truly “modern” piece in my repertoire, and required things I wasn’t prepared for at all. At the beginning, for example, six different dynamic shadings are overlapping simultaneously in both hands. I found those challenges exciting: after having gone through such an experience, I had “tasted blood” as far as contemporary music was concerned. In the middle of the piece, there is an improvisation on predetermined musical material: I wrote my version down, and have recorded it that way now. At the onset, the piece features a displacement of one semiquaver between the two hands, which is maintained until the phases come together again.
‘This always reminded me of the first movement of Beethoven’s G major Sonata. Beethoven was surely one of the first to discover how such small shifts can generate a kind of jagged, forward-moving energy, and he presents it in a dry, unemotional manner.’
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