Name: Elisabeth Leonskaja | Beethoven
Start: 2024-05-21T00:00:00.000Z
End: 2024-05-21T00:00:00.000Z
Location: Opéra de Dijon

Organization

Instrumentalist

Pianist

Elisabeth Leonskaja

Piano

Opéra de Dijon

Elisabeth Leonskaja | Beethoven

Dijon

France

Auditorium

Elisabeth Leonskaja | Beethoven: Piano Sonata No. 30 in E Major, op 109 Ludwig van Beethoven (+2 More)

Public

Concert

Piano Sonata in E major, op. 109

Piano Sonata No. 31, op. 110

Sonata No. 32 in C minor, op. 111

Approved

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Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

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Bassoonist

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Cornettist

Flutist

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Harper

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Musette de cour Player

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Viola Pomposa Player

Viola da gamba

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Violinist

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Violist

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Chefdirigent Musiktheater

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Chorus master

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Baritone

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Contralto

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Bass-baritone

Bass

Soprano

Tenor

Alto

Child vocalist

Continuo

Silent

Spoken

Il ne fallait rien moins que la profondeur et la poésie d’Elisabeth Leonskaja pour interpréter en un unique récital les trois abîmes de pensée musicale que sont les dernières Sonates de Beethoven. Une récapitulation, un « Adieu à la sonate» selon Thomas Mann, mais aussi une intimidante prophétie...

On le sait, la période tardive de Beethoven constitue un véritable mythe esthétique, analysé, entre autres, par Theodor Adorno et Edward Saïd. Définitivement emmuré dans la surdité, le compositeur y aurait élaboré un langage plein de tensions, de contradictions, de violences mais aussi de décantations éthérées, inaudibles pour ses contemporains mais annonçant près de cent années de musique. Les derniers Quatuors à cordes, les Variations Diabelli et les ultimes Sonates pour piano constituent le cœur de cet intimidant « style tardif», parfois chaotique, parfois radieux, mais toujours intensément spéculatif. La Sonate op. 109 (1820) frappe par sa densité et par la somptuosité du Finale avec variations, dont l’admirable thème poudroie et se fragmente à l’infini. Introspective et d’une grande liberté de forme, la Sonate op. 110 (1821) figure un combat avec la douleur et témoigne, avec sa fugue, de la lutte magistrale de Beethoven avec l’esprit du contrepoint. Quant à la Sonate op. 111 (1821), avec ses deux mouvements comme coupés du monde et sa légendaire « Arietta », sa profondeur testamentaire nous immerge dans un pur univers de son.

français

It takes the depth and poetry of an extraordinarily powerful artist such as Elisabeth Leonskaja to perform in a single recital the three chasms of musical thought expressed in Beethoven’s final three Sonatas. They are a recapitulation, a  "adieu to the sonata", according to Thomas Mann, but also an intimidating prophecy…

Beethoven’s late period is the stuff of legend, analysed by the likes of Theodor Adorno and Edward Saïd, among others. Completely deaf, the composer would develop a language full of tension, contradiction, violence, but also ethereal decantation, inaudible to his contemporaries but announcing the next hundred years of music. The late String quartets, the Diabelli variations and the final Sonatas for piano constitute the heart of this intimidating "late style", at times chaotic, at times radiant, but always intensely speculative. Sonata op. 109 (1820) is marked by its density and by the sumptuousness of the Finale with variations, whose admirable theme shimmers and fragments into the infinite. Introspective with extraordinary freedom of form, the Sonata op. 110 (1821) is a coming to grips with grief, its fugue testifying to Beethoven’s magisterial grappling with the spirit of counterpoint. As for Sonata op. 111 (1821), with its two movements like a World Cup competition, and its legendary "Arietta", it remains a profound testament, immersing us in a universe of pure sound.

English

Elisabeth Leonskaja | Beethoven by Beethoven, No (2024/2024), Opéra de Dijon, Dijon, France

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