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The opening movement of the Op 54 sonata juxtaposes two strongly opposing ideas (‘Beauty and the Beast’ has been one attempt at characterising their contrast): a graceful, minuet-like main theme, and a second subject in the style of a toccata, in powerful double octaves. In the first stage of the piece, it is the latter idea that dominates; though eventually the minuet theme returns, as if to suggest that a repeat of the exposition were about to unfold. The impression of an actual repeat is, however, short-lived, and the remainder of the movement turns out to be partly a variation of its first stage, and partly a further development of its material. At the end, the music sinks to a resigned close, with the rhythm of the toccata subsumed into the serenity of the minuet.
No less original in form is the finale—a two-part invention which unfolds in a continuous stream of semiquavers. The first stage of this sonata form is compressed into the space of a mere twenty bars, after which the piece is once again continually developmental. This time, both sections of the piece are repeated, and a coda in a quicker tempo brings this remarkable and comparatively neglected work to a close.
from notes by Misha Donat © 2018
Si elles sont respectées, les indications «Allegretto» et surtout «dolce» peuvent faire du second mouvement autre chose qu’une simple étude. Il faut le travailler comme une étude, mais si l’on suit tous les contours et surprises harmoniques, la dynamique et l’indication «espressivo», son humour et son esprit ressortent. Presque tout le mouvement fait l’objet d’une reprise (au cas où vous ne l’auriez pas bien joué la première fois, vous avez droit à un autre essai!). Lorsqu’arrive la coda, vous pouvez vous laisser aller!
extrait des notes rédigées par Angela Hewitt © 2019
Français: Marie-Stella Pâris
Die Anweisungen „Allegretto“ und besonders auch „dolce“, so sie beachtet werden, können den zweiten Satz davor bewahren, wie eine Etüde zu klingen. Man muss ihn so üben, aber wenn man den harmonischen Konturen und Überraschungen, der Dynamik und der „Espressivo“-Anweisung folgt, dann treten der Humor und Esprit des Stücks in den Vordergrund. Fast der gesamte Satz wird wiederholt (und wenn man ihn das erste Mal nicht richtig aufgefasst hat, gibt es hiermit eine zweite Chance!). Wenn die Coda kommt, darf man Gas geben!
aus dem Begleittext von Angela Hewitt © 2019
Deutsch: Viola Scheffel
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