II. Die Abwesenheit (L Absence). Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck)

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1 Concert of Wednesday, May 30, 2018, at 8:00p Jonathan Biss, piano Ludwig van Beethoven ( ) Sonata No. 8 in C minor, Opus 13, Pathétique (1798) I. Grave; Allegro di molto e con brio II. Adagio cantabile III. Rondo. Allegro Sonata No. 22 in F Major, Opus 54 (1804) I. In tempo d un Menuetto II. Allegretto; Più Allegro Sonata No. 26 in E-flat Major, Opus 81a, Les Adieux (1810) I. Das Lebewohl (Les Adieux). Adagio; Allegro II. Die Abwesenheit (L Absence). Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck) III. Das Wiedersehn (Le Retour). Vivacissimamente (Im lebhaftesten Zeitmasse) Sonata No. 2 in A Major, Opus 2, No. 2 (1795) I. Allegro vivace II. Largo appassionato III. Scherzo. Allegretto IV. Rondo. Grazioso Sonata No. 31 in A-flat Major, Opus 110 (1822) I. Moderato cantabile molto espressivo II. Allegro molto III. Adagio, ma non troppo; Fuga. Allegro, ma non troppo

2 Notes on the Program by Ken Meltzer Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, In the 1790s, Beethoven ascended to prominence in Vienna as a brilliant virtuoso pianist, albeit an iconoclastic one. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven s attacks upon the delicate fortepianos of the day. Beethoven s keyboard performances consisted of far more than displays of force. Pianist and composer Carl Czerny recalled that audience members were moved to tears by the eloquence of Beethoven s improvisational powers at the keyboard, for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing. Another element of Beethoven s keyboard magic was his masterful plasticity of phrasing that, according to first-hand accounts, employed unerring dynamic contrast and subtle tempo modification. Beethoven composed numerous works for solo piano that he performed to considerable acclaim. The tragic onset of deafness in the early 1800s soon brought Beethoven s career as a concert pianist to an early close. It s not surprising that Beethoven composed 18 of his 32 Piano Sonatas during the years Nevertheless, as in the case of the symphony and string quartet, Beethoven continued to compose piano sonatas almost to the end of his life. As such, these works offer a treasured window into Beethoven s growth and development as an artist. Sonata No. 8 in C minor, Opus 13, Pathétique (1798) Approximate performance time is eighteen minutes. Beethoven dedicated his Pathétique Sonata to Prince Karl Lichnowsky. The Prince and his wife, Princess Christiane, were great supporters of Beethoven in Vienna, and dear friends. Beethoven dedicated numerous compositions to them. I. Grave; Allegro di molto e con brio The Sonata opens with an expansive and dramatic slow-tempo introduction (Grave) whose ascending and descending thematic contours inform the remainder of the work. The introduction segues without pause to the principal Allegro di molto e con brio, and the tempestuous first principal theme. The second theme, while more lyrical, has its own restless nature. The slow-tempo introduction makes an unconventional return at the start of the development, as well as in the final bars, leading to a stormy conclusion. II. Adagio cantabile The Pathétique s slow-tempo movement opens with one of Beethoven s most well-known and beloved melodies. The melody returns throughout, alternating with other episodes (A B A C A) before resolving to a pianissimo resolution.

3 III. Rondo. Allegro The finale, combining elements of rondo and sonata forms, is based upon an agitated melody, introduced at the outset. In the final bars, a more tranquil version of the melody is swept aside by a fortissimo descending flourish. Sonata No. 22 in F Major, Opus 54 (1804) Approximate performance time is ten minutes. I. In tempo d un Menuetto Beethoven designates that the opening movement be played in the tempo of a Minuet. And indeed, the initial statement is very much in the character of the elegant, triple meter dance, popular in the 18 th century. But soon, Beethoven juxtaposes the Minuet with vigorous sforzando octaves. The tension created by these two components is finally resolved in the pianissimo final bars. II. Allegretto; Più Allegro The finale opens with a bracing sixteenth-note moto perpetuo that dominates throughout. In the final section, Beethoven directs that the fleet music be played even faster (Più Allegro), and the finale sprints to a thrilling close. Sonata No. 26 in E-flat Major, Opus 81a, Les Adieux (1810) Approximate performance time is seventeen minutes. Beethoven dedicated the Sonata No. 26 to the Archduke Rudolph, the youngest son of Emperor Leopold II. Rudolph, a longtime pupil, friend, and patron of Beethoven, was the dedicatee of many of the composer s finest works. Archduke Rudolph and his family fled Vienna prior to Napoleon s 1809 invasion. Beethoven s Les Adieux Sonata tracks the course of Rudolph s departure and return, and Beethoven s corresponding emotions. I. Das Lebewohl (Les Adieux). Adagio; Allegro Beethoven provided the following written description for the Sonata s first movement: The Farewell, Vienna, May 4, 1809, on the departure of His Imperial Highness the revered Archduke Rudolph. The slowtempo introduction (Adagio) begins with a three-note descending passage, over which Beethoven wrote the word, Le-be wohl! ( Farewell! ). The introduction then offers premonitions of the restless opening theme of the main Allegro. The Allegro s second principal theme is a reflective and elegant descending melody. The traditional development and recapitulation of the principal themes follow. The Lebewohl descending motif plays a prominent role in the extended coda, whose generally introspective mood yields to a pair of forte chords. II. Die Abwesenheit (L Absence). Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck) In the second movement, Beethoven reflects upon The Absence of his beloved friend. Beethoven directs the slow-tempo movement be played in continuous motion, but with much expression. The three-note Lebewohl! motif is now recast in a dotted-rhythm. This section alternates with a flowing, cantabile episode. The dottedrhythm motif serves as a bridge to the finale, which follows without pause.

4 III. Das Wiedersehn (Le Retour). Vivacissimamente (Im lebhaftesten Zeitmasse) Beethoven offered this description of the finale: The Arrival of His Imperial Highness the revered Archduke Rudolph, January 30, The composer directs the music be played in the liveliest tempo. A brilliant passage leads to the finale s principal melody, cast in a skipping 6/8 meter that conveys an almost childlike joy at the return of the Archduke. A more reflective version of the finale s principal melody (Poco andante) yields to the virtuoso final bars (Tempo I). Sonata No. 2 in A Major, Opus 2, No. 2 (1795) Approximate performance time is twenty-four minutes. Beethoven dedicated the Piano Sonatas published in 1796 as his Opus 2, Nos. 1-3, to his former teacher, Franz Joseph Haydn. According to an advertisement in the Wiener Zeitung: Since the previous work of the author, the three clavier trios, Opera I (i.e., Opus I), which is now in the hands of the public, has been received with so much approbation, it is probable that the same will be accorded the present work, the more so because in addition to the intrinsic worth of the (composition) one can experience from it not only the force which Herr v. Beethoven possesses as a pianist but also the delicacy with which he knows how to treat the instrument. As the advertisement suggests, the three Opus 2 Piano Sonatas provided a showcase for Beethoven s unique qualities as a keyboard artist. Also, typical of many of Beethoven s early works, the Opus Two Sonatas both acknowledge the Classical era of Haydn and Mozart, and offer glimpses of the revolutionary path the composer would take in just a few years time. I. Allegro vivace The Sonata opens with playful descending statements, mirrored by ascending figures. The second principal theme is a yearning, minor-key melody that gathers intensity. Brilliant passagework resolves to a hushed statement as the exposition draws to a close. The extended development opens with a reprise of the initial theme. After a brief pause, the recapitulation begins with a forte statement of the opening theme. Once again, lightning passagework yields to the pianissimo final measures. II. Largo appassionato The slow-tempo movement is based upon a noble chorale, accompanied by the tread of repeated staccato notes. The chorale returns throughout the Largo, alternating with other episodes. Toward the close, the chorale is transformed into both a fortissimo outburst, and an ethereal, pianissimo statement. III. Scherzo. Allegretto The Scherzo (Italian, joke ) makes its first appearance in a Beethoven Piano Sonata. True to its name, the music is lighthearted and playful, with unexpected twists and turns. The key shifts from A Major to minor for the central Trio, followed by a reprise of the Scherzo.

5 IV. Rondo. Grazioso An upward flourish launches the principal theme of the Rondo finale. The theme alternates with other episodes, including a stormy, chromatic sequence in A minor. Both the principal Rondo theme and chromatic episode return toward the close, finally resolving to a graceful conclusion. Piano Sonata No. 31 in A-flat Major, Opus 110 (1822) Approximate performance time is nineteen minutes. Beethoven completed his Sonata No. 31 toward the close of 1821, and the work was published the following year. I. Moderato cantabile molto espressivo Beethoven immediately presents the two principal themes of the opening movement. First is a noble, dotted-rhythm sequence that Beethoven directs be played con amabilità ( amiably ). A beautiful, yearning melody immediately follows. The music is notable throughout for its lyricism and delicate passagework. II. Allegro molto The brief second movement serves as the scherzo and trio. Cast in 2/4, the brusque principal scherzo features jarring dynamic contrasts. The trio portion features a sequence of flowing eighth notes. A reprise of the scherzo resolves to a Coda that brings the movement to a peaceful close. III. Adagio, ma non troppo; Fuga. Allegro, ma non troppo The finale, longer than the previous two movements combined, explores an extraordinary variety of moods and musical worlds. The first portion (Adagio, ma non troppo) is in the spirit of an Italian operatic scena, with the pianist assuming the role of the vocalist, performing a recitative and Arioso dolente (i.e., a brief, mournful aria). The pianist then launches a Fugue (Fuga. Allegro, ma non troppo) in flowing 6/8 time. Suddenly, the Arioso returns, culminating in a series of increasingly forceful chords. The Fugue subject (now inverted) reappears, and the finale sprints to a stirring conclusion.