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ANTON KUERTI Tickets@Desingel.Be WO 9 FEB 2011 T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 2010-2011 architectuur theater dans muziek 2010-2011 blauwe zaal grote podia deSingel Desguinlei 25 / B-2018 Antwerpen ma vr 10 19 uur / za 16 19 uur ANTON KUERTI www.desingel.be [email protected] WO 9 FEB 2011 T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2010-2011 PIANO GUNILLA SÜSSMANN ZA 9 OKT 2010 ENRICO PACE VR 26 NOV 2010 TILL FELLNER ZA 18 DEC 2010 MARC-ANDRÉ HAMELIN DO 27 JAN 2011 ANTON KUERTI WO 9 FEB 2011 MARTIN HELMCHEN DO 3 MRT 2011 inleiding door Jan Caeyers / 19.15 uur / blauwe foyer begin 20.00 uur pauze omstreeks 20.35 uur einde omstreeks 22.00 uur teksten programmaboekje Diederik Verstraete coördinatie programmaboekje deSingel & Diederik Verstraete Fotograferen is absoluut verboden tijdens voorstellingen, concerten en tentoonstellingen. Dat geldt ook voor het maken van film-, video- of geluidsopnamen. gelieve uw GSM uit te schakelen De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … reageer betreffende het programma van deSingel met andere toeschouwers delen. & win Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Neemt u deel aan dit forum, dan maakt u meteen kans om tickets te winnen. Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 > www.tklavervier.be grand café deSingel open alle dagen 9 > 24 uur informatie en reserveren +32 (0)3 237 71 00 www.grandcafedesingel.be drankjes / hapjes / snacks / uitgebreid tafelen Ludwig van Beethoven ca. 1823. Tekening door Martin Tejcek. ANTON KUERTI piano LUDWIg VAN BEETHOVEN (1770-1827) Pianosonate nr 1 in f, opus 2 nr 1 18’ ‘33 Veränderungen über einen Walzer von Anton Diabelli’, Allegro Opus 120 50’ Adagio Thema. Vivace Menuetto. Allegretto Var 1 Alla Marcia maestoso Prestissimo Var 2 Poco allegro Var 3 L’istesso tempo Pianosonate nr 6 in F, opus 10 nr 2 14’ Var 4 Un poco più vivace Allegro Var 5 Allegro vivace Allegretto Var 6 Allegro ma non troppo e serioso Finale. Presto Var 7 Un poco più allegro Var 8 Poco vivace Var 9 Allegro pesante e risoluto pauze Var 10 Presto Var 11 Allegretto Var 12 Un poco più moto Var 13 Vivace Var 14 Grave e maestoso Var 15 Presto scherzando Var 16 Allegro Var 17 Allegro Var 18 Poco moderato Var 19 Presto Var 20 Andante Var 21 Allegro con brio - Meno allegro Var 22 Allegro molto (alla ‘Notte e giorno faticar’ di Mozart) Var 23 Allegro assai Var 24 Fughetta. Andante Var 25 Allegro Var 26 Piacevole Var 27 Vivace Var 28 Allegro Var 29 Adagio ma non troppo Var 30 Andante, sempre cantabile Var 31 Largo, molto espressivo Var 32 Fuga. Allegro Var 33 Tempo di Menuetto, moderato (ma non tirarsi dietro) sonates opus 10 te schrijven, de tweede sonate uit de set werd vroeg in BEETHOVEN: VROEgE EN 1797 voltooid toen hij was teruggekeerd van een reis naar Praag en Berlijn. Hoe indrukwekkend en groots opgebouwd de vierdelige sonates opus 2 LATE KLAVIERWERKEN en 7 ook moge zijn, in deze sonate in F vinden we een heel andere, zeker zo typische Beethoven terug. In deze korte driedelige sonate – Beethoven heeft blijkbaar nooit overwogen haar van een langzaam deel te voorzien – toont Beethoven zich van zijn meest optimistische en openhartige kant. Tegelijkertijd schept hij er zichtbaar genoegen in heel wat grappen in de Pianosonate nr 1 in f, opus 2 nr 1 muziek te verwerken, net zoals Haydn dat zo graag deed. De expositie van In 1792 vestigt Ludwig van Beethoven zich definitief in Wenen, waar hij het materiaal in het eerste deel, een Allegro, toont een opmerkelijke afkeer razendsnel carrière maakt als pianist. Het is dan ook niet verwonderlijk dat van de basistoonaard fa-groot. Bovendien is er hier nauwelijks sprake van hij zich in eerste instantie op het componeren van pianowerken concen- een openingsthema in de klassieke zin van het woord, maar veel meer treert: tussen 1792 en 1802 ontstaan een vijftiental pianosonates. van een verzameling motieven die op het eerste zicht weinig verband met Uiteraard schreef Beethoven tijdens zijn eerste “Weense decennium” niet elkaar houden. Zonder onderbreking volgt het tweede thema in do-groot: alleen voor zijn eigen instrument; ook andere kamermuziekgenres zoals een lyrisch stijgend thema boven een geagiteerde begeleiding. In de door- de vioolsonate of het strijkkwartet kwamen ruimschoots aan bod, naast – werking komt geen van deze thema’s of motieven aan bod, maar houdt in meer beperkte mate - het pianoconcerto en de symfonie. Maar het is in Beethoven zich uitvoerig bezig met de drie dalende noten die de expositie de pianosonates dat Beethovens artistieke ontwikkeling het duidelijkst kan afsluiten. De recapitulatie begint met veel durf in re-groot, een toonaard gevolgd worden, zeker wat de jaren 1792-1802 betreft. die mijlenver verwijderd is van fa-groot. Het tweede deel is een scherzo- De eerste vijf jaar in Wenen concentreert Beethoven zich op de grootse achig Allegretto in fa-klein, gebaseerd op een geheimzinnig, in oktaven vierdelige sonate. De drie sonates opus 2, de sonate opus 7 of twee van gepresenteerd thema. Het is het meest ernstige deel van de drie, met een de drie sonates uit opus 10 zijn grootschalige, bijna symfonische werken. rijk en sonoor trio in rebemol-groot. Opmerkelijk is dat Beethoven hierna Beethoven perfectioneert in deze werken zijn beheersing van de klassie- het scherzo niet letterlijk laat herhalen, maar dat hij de reprise uitcompo- ke vormen: sonatevormen en liedvormen, menuetten en scherzi, rondo’s neert met extra syncopen en andere ritmische subtiliteiten. Meest geestig of variaties, het is alsof Beethoven alle mogelijkheden aftast. In deze van al is de finale, die begint als een komische fuga met de inzetten van eerste sonate uit opus 2 is de geest van de kamermuziek nooit ver weg. het thema en het antwoord hierop vaak in de verkeerde volgorde. In de Het antwoord op het snel stijgende beginthema komt in de linkerhand, doorwerking moduleert Beethoven naar de toonaard van het trio uit het als betrof het een cello in een strijkkwartet. In het tweede thema maakt scherzo, rebemol-groot, alvorens ons voor te bereiden op een uitgebreide het conventionele patroon van een Alberti-bas (een steeds weerkerend en sterk gewijzigde herneming van het basismateriaal. begeleidend motiefje) plaats voor een baslijn met veel meer inhoud en thematisch belang; zelfs de afsluitende akkoorden uit het eerste deel lijken Diabelli-variaties, opus 120 zo weggelopen uit de slotmaten van een kwartet van Mozart of Haydn. In De ‘Diabelli-variaties’ behoren tot Beethovens laatste creatieve periode, het hoofddeel van het menuet valt de imitatie van klassieke kwartettex- waarin hij met zijn ‘Negende Symfonie’, late pianosonaten en strijkkwartet- turen zelfs nog meer op, zoals in het gebruik van vierstemmig contrapunt ten de vormen, regels en zelfs esthetische normen uit de Weense klas- of in de fortissimo-passage in oktaven die sterk geënt is op gelijkaardige siek definitief doorbrak. In veel opzichten vormen de ‘Diabelli-variaties’ passages in Haydns kwartetten. De finale zorgt alvast qua textuur voor van deze ontwikkeling de ideale illustratie. Toen de uitgever en componist het nodige contrast door uit te pakken met een erg idiomatische schrif- Antonio Diabelli in 1819 een onbeduidende wals naar meer dan vijftig tuur voor de piano, gedomineerd door rusteloze gebroken akkoorden. componisten stuurde, met de vraag er een één enkele variatie op te com- poneren, zal hij zich wel nooit aan Beethovens reactie verwacht hebben. Pianosonate nr 10 in F, opus 10 nr 2 Terwijl componisten zoals Carl Czerny of Franz Schubert braaf één enkele, De sonate in F opus 10 nr 2 breekt op radicale wijze met de door Beet- gevraagde, variatie leverden, verraste Beethoven zijn goede vriend met hoven zelf gecreëerde traditie van de ‘grande sonate’, grootschalige een monumentale variatiereeks, bestaande uit niet minder dan drieënder- vierdelige werken zoals zijn drie sonates opus 2 die de hoogste eisen tig variaties, meteen een van de meest omvangrijke variatiereeksen uit de stelden aan de uitvoerder. Beethoven begon wellicht in 1795 aan de drie muziekgeschiedenis, vergelijkbaar met Bachs ‘Goldberg-variaties’. Diabelli reageerde enthousiast en publiceerde Beethovens compositie in 1823, chromatische transformatie van het laatste akkoord van de fuga brengt de een jaar voor het originele project onder de titel ‘Vaterländischer Künstler- harmonie terug in C voor de laatste variatie, een menuet in een geslaagde verein’ verscheen. parodie op de galante stijl dat uitmondt in de visionaire coda die heel wat Volgens onderzoek van Beethovens autograaf en schetsboeken, schetste verwantschap vertoont met het slot van Beethovens laatste, 32ste, piano- Beethoven ongeveer twee derde van de variaties in de winter en lente sonate. van 1819, vlak nadat hij Diabelli’s verzoek had ontvangen, zij het niet in de volgorde zoals de variaties uiteindelijk zouden verschijnen. Zo behoort de meest indrukwekkende variatie, de voorlaatste (een bijzonder hecht uitgewerkte dubbelfuga), tot deze eerste scheppingsfase. In de zomer van 1819 brak Beethoven het werk aan de ‘Diabelli-variaties’ echter plots af om eerder begonnen projecten, zoals de ‘Missa Solemnis’ en de drie laatste pianosonates, af te werken, waarna hij in de winter van 1822-23 het werk op enkele maanden tijd voltooide. In deze tweede creatieve fase ontstonden het grootste deel van de laatste variaties (met uitzondering van no 32), naast variaties 1, 2 en 15. Deze verbrokkelde ontstaansgeschie- denis kan ten dele gebruikt worden als verklaring voor het meest in het oog springende aspect van het werk: het ongelooflijk sterk geprofileerde individuele karakter van de onderscheiden variaties.
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