UMSL Music Department

Friday Seminar

Student Recitals

Friday, November 13 at 11 am




UMSL Piano Studio presents

All-Beethoven Concert

Tuesday, November 10, 2020 at 7:30 p.m.

UMSL Piano Studio members will be performing Piano Sonatas Beethoven wrote in three different periods of his life, plus 32 Variations, known for their uniqueness and technical challenges. 

The performers are: Anna Klein, Samantha Barton, Ginger Edwards, Miho Tago and Jiaping Hu. 

Sonata "Pathetique" in C minor, opus 13 performed by Anna Klein

  1. Grave-Allegro
  2. Adagio Cantabile
  3. Rondo 
Sonata, quasi una fantasia in C Sharp minor, opus 27, No.2 "Moonlight" performed by Samantha Barton
  1. Adagio Sostenuto                                                                       
  2. Allegretto
  3. Presto agitato
Sonata in G Major, opus 79 "Cuckoo" performed by Ginger Edwards
  1. Presto alla tedesca
  2. Andante
  3. Vivace
Sonata in E Flat Major, opus 81a "Les Adieux" (The  Farewell) performed by Miho Tago
  1. Das Lebewohl   (Les Adieux – The Farewell): Adagio – Allegro 
  2. Abwesenheit (L'Absence – The Absence): Andante espressivo
  3. Das Wiedersehen (Le Retour – The Return): Vivacissimamente 
32 Variations in C minor, WoO 80  performed by Jiaping Hu

I to III

Consists of arpeggios and repeating notes. The only difference among these three variations is which hands play the arpeggios; in Var. I, the right hand does so, Var. II, the left hand, and Var. III, both hands.

IV

A variation looking into precision of staccato, and the descending bass line is quite prominent.

V

A quiet variation looking at the contrast between staccato and legato.

VI

A turbulent variation marked fortissimo as well as "sempre staccato e sforzato." The sforzatos are indicated in the music.

VII and VIII

Are markedly quieter variations than Var. VI but musically are more difficult.

IX

A variation with many slurs.

X and XI

Marked "sempre forte" with an inversion of the main theme, with the only difference between them being that Var. X's thirty-second notes are played with the left hand, and Var. XI's thirty-second notes with the right hand.

XII to XVI

Marked Maggiore (Italian for "major") and are thus emotionally different from the other variations. These variations are in C major. Var. XII is marked "semplice", so it should not be overplayed, while XIII is even quieter. Var. XIV has staccato thirds, and XV and XVI contain numerous, albeit slow, octaves.

XVII

Marks the return of the minor and is marked "dolce", implying that it should be played more quietly.

XVIII

Offers a stark contrast to Var. XVII, with very rapid right hand scales.

XIX

A variation with arpeggios in the form of sixteenth triplets, as in the Waldstein Sonata.

XX and XXI

Are technically difficult variations with scales.

XXII

Noted for its tenutos and sforzatos.

XXIII

Offers a contrast to Var. XXII and thus is marked pianissimo. It consists of detached chords.

XXIV and XXV

Are light (thus quiet) variations emphasizing staccato and leggiermente, respectively.

XXVI and XXVII

Are technically difficult and consist of thirds.

XXVIII

A stark contrast to XXVII, as it is marked semplice.

XXIX

Consists of difficult arpeggios in the form of sixteenth note triplets.

XXX

A contrast to XXIX and is quite slow.

XXXI

Even quieter than XXX and technically simple, consisting of left hand arpeggios, and the theme is repeated in the right hand in its original form.

XXXII

The last variation, a technically difficult and fast passage. Its main theme consists of left hand 32nd notes and the right hand playing two sevenths, and a group of eight 32nd notes.





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