Opus 14 #1 and #2

Sonata Opus 14 

Beethoven continues to honour Joseph Haydn in these two Sonatas. To such an extend that the first of the two sonatas was reworked to a String Quartet, a form which was invented by Joseph Haydn. To hear this sonata played by a quartet of String instruments you can go to this link:

http://www.classicalarchives.com/work/43432.html

Andreas Schiff in his lecture on Beethoven Sonatas discusses these two sonatas together with Opus 49 and Opus 22. This would rank these sonatas as the easier piano sonatas by Beethoven. But - as an expert - Adreas Schiff knows there is no easy music and for that reason assumes they are actually quite hard to play and interpret. 

The sonata was very popular in his days, because it was suitable for intermediate advanced pianists and Beethoven still at this stage writes for this audience. 

The texture though is extremely suitable for a quartet and Beethoven might even have had this in mind from the start.

The second movement is a lively but very tragic minuet in E-minor, the trio being bright and cheerful. Beethoven is experimenting with lots of things and meanings here turning the minuet and trio upside down.

And enjoy the rondo, whilst Beethoven still writes them! Mostly with Beethoven Rondos he will deviate to sonata form.

After the second presentation of the theme he will go to minor and this bit is extremely fun to play and listen to:



After this he will present the theme in minor also and play around a bit with the rhythm of the theme, which might have brought him to the idea for Sonata number 2 of this Opus. Experiment with rhythm!

Definitely the most interesting of the two this sonata is a constant trick and play with rhythm. Charles Rosen says of this sonata that the performer should not even try to emphasise the shift in rhythm. But equally misguided would be for the pianist to put his/her weight on the first 'G' in the left hand, which 9 out of 10 will do. And after all Beethoven did write an accent on the first note of the bar, even if it is not a Beethoven sf.

Again, everything in this sonata shouts Joseph Haydn. the 2/4, the rhythmic tid bits and demi-semi quavers. 

Many reminders to the first of these two sonatas also Beethoven continues to build on what he has done before, although this 2nd sonata is not at all suitable for a quartet. 

And then my favourite! Cabaret! Beethoven really has done it all. This is pure stage humour!

This movement features in my mind in a stage show, where Beethoven entirely disillusioned with the Europe of his days decides to put his deeds where his mouth is and to emigrate to New Zealand. He only did not quite anticipate the response - like the British in his days thought of his music as being barbaric - of the locals he would solicit, who would think it their duty to eradicate all Germanism in Beethoven's conduct and music and to remind him of the fact that the definite standard was already set by Purcell. Poor man!

And again enjoy it: a Rondo! But only because after the 2nd movement in traditional variation form you would expect a minuet, but Beethoven now decides to combine Scherzo and Rondo into one movement. When will you go back to four movements again Mr. Beethoven?

Can rhythm be more Joseph Haydn as presented here?
Again listen to Daniel Barenboim...

http://www.youtube.com/watch?v=fPsDwKAWN4U

Lunch concerts continued

I found this on the web somewhere. Great! Keep them coming! So agree with every word.... But.... temperamental foibles? Moi?


http://www.northernadvocate.co.nz/news/pack-your-sammies-and-enjoy-lunchtime-recitals/1360412/

Yuka Bath is ensuring monthly lunchtime
music recitals continue

Regardless  of his temperamental foibles, piano teacher Art Zegelaar's practical imagination certainly enlivened Whangarei's musical culture. 
In particular, instead of presenting polished performances, his monthly recitals rather more revealingly illustrated work in progress. Alas, no more, now that the man with the get up and go has got up and gone.

Zegelaar, at first expecting to be away only temporarily, had persuaded one of his advanced students, Yuka Bath, to keep the lunchtime recitals ticking over. However, when it transpired that Zegelaar would not be back, Yuka decided to take them on and to imprint them with her own personality.

Zegelaar was convinced Yuka, if her abilities had been developed properly, could have become a notable pianist. Unfortunately, she had too tough a time of it. Being pushed over-hard in her formative years, she suffered numerous injuries and, as she says, "I think I had burnt out. I never touched the piano key for nearly 15 years... until I fell in love with a 

piano I met in Kaitaia. I will never give up playing the piano again."

Yuka, helping to clear up the loose ends of Zegelaar's teaching commitments, got to know Matt Watson, "when I provided the final piano lesson for his daughter Zoe. I talked about my idea and he was so happy to help me."

The enthusiastic Matt Watson is himself no mean pianist; he and Yuka make a formidable team. Having got her teeth into the recitals - which take place on the third Wednesday of each month, at noon in the Old Library - Yuka is now planning a series of Young Musicians' Concerts at lunchtime on weekends.

Yuka is hoping to open up a niche, to create opportunities for players of different instruments and from diverse backgrounds to both entertain the public and broaden their musical horizons. The first one is on Sunday at 1 pm.

Don't just wish her every success - it's far better you pack some sandwiches, go along, and make it happen. For emails of forthcoming recitals and concerts, or to enquire about taking part, email Yuka at jjgenki@xtra.co.nz.