The concert opens with the Sonata no. 1 in F minor, op. 2/1  by  LUDWIG VAN BEETHOVEN (1770 – 1827), composed in the years  1793-95. The sonata may be considered juvenilia, but not in the sense of immaturity.  It is more because in the first movement, which respects sonata form, the theme is based on the spread fifth chord of F minor and the exposition is precisely repeated. These are typical marks of the Classisist sonata that Beethoven was soon to fundamentally rework into a new form. In fact this sonata already deviates from the conventional model in the sense that all the thematic material of the first movement grows out of the introductory motif, and this has an unusually integrating effect on the Allegroe. It is followed by a distinctly more tranquil  Adagio in F major and a  Menuetto in A flat major. The sonata ends with a fierce, virtuoso Prestissimo.

Only a relatively small part of the work of the most celebrated Norwegian composer EDVARD HAGERUP GRIEG (1843 – 1907) has passed through the net of history and remained in current concert repertoire. The Lyric Pieces are definitely among the „survivors“. The first was written in the years 1864-67, and the last in  1901, and so they reflect the whole of Grieg's lif, as well as showing him to be a true master of the romantic miniature: the nostalgic Homesickness,  with its playful central section, the brilliant Butterfly,  characterised by chromatic runs, the wistful Erotikon, To Spring – a joyful little piece employing the full keyboard???, and the smallest and most delicate piece  Arietta, the very first of the Lyric Pieces. At the end comes the vigorous March of the Trolls.

Beforec reaching its final form and acquiring its final name, the Fantasie quasi sonata „Après une Lecture du Dante “ by FRANZ LISZT (1811 – 1886) underwent great changes. The original version, in two parts, was composed in 1839 when Liszt had already been living for some years with Marie  d´Agoult, who introduced him to many literary worlds including the world of Dante. Liszt then recast it in a one-movement version in 1849. In terms of form it is actually a multi-movement work inside one movement;  a slow movement, scherzo section and presto finale can all be found within the unbroken current of the music. What fascinated Liszt most in the Divine Comedy was the depiction of hell and the heavenly guide Beatrice, and these are the two poles – two themes, on which Liszt bases his Fantasia.  The main theme, with which the piece begins and which runs all the way throught it, truly conjures up a fall into an abyss, in contrast to which – first in the tempo  Andante ben marcato il canto – stands the tranquil majesty of Eden.

Today's recital ends symbolically with the Sonata no. 32 in C minor,  op. 111, written in the years 1820-1822 and the very last of  BEETHOVEN's piano sonatas. This intrigues us at first sight by having two movements.  The length  of the second movement means that the dramatic first movement,  Allegro con brio,  with its introduction Maestoso, gives the impression of a prelude. Then comes the  Arietta, a simple melody followed by five extensive variations consisting in ever richer rhythmic movement. The sonata ends with a complete return of tranquillity in C major. Some pianists even claim that after this sonata there was nothing left to add, that all had been said. Let us see how the pianist tonight interprets it. 

Martin Rudovský

Translation Anna Bryson