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Bericht über mein Konzert. größeres Foto als beim letzten Mal.

Ich selber ruhe mich heute noch aus.

Mehr als 24 Stunden spaeter bin ich ausgeruht, aber trotzdem noch muede, allerdings bereits vom Programm des heutigen Tages. Es gab einen Dokumentarfilm ueber Leonard Cohen, ueber seine Europareise im Jahr 1972. War interessant und schoen.
Danach japanisch Essen im "Moon".
Publikum war begeistert und hat heute noch alle Bilder auf Facebook "geliked".
Jetzt werde ich das naechste Programm angehen. Und eigentlich auch an meinem Roman weiterschreiben.
Irgendwie wollte ich noch etwas mehr ueber das Programm des Konzerts schreiben. Aber eigentlich ist es so, wie es Politiker nach der Wahl halten. Was vorher gesagt wurde, geraet in Vergessenheit.

Drei Bilder stelle ich aber hier herein.
Eines mit einem meiner aeltesten Bekannten,
eines mit fuenf Groupies, deren Alter sich dem meinen anpasst,
und die Kritik in der serioesesten Zeitschrift in Serbia "Politika".
Das letztere wird gut zur Bewerbung des naechsten Konzerts dienen.

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Todmüde zuhause. Es lief gut. Ein paar kleine Fehler, aber die haben mich nich einmal gestört. Ich habe mich gut ausleben können. Aufgrund der Klavierstunden von
Tzveta Dimitrova hatte ich ein sehr sicheres Gefühl. Allerdings war ich bei der vierten Beethoven-Sonate wieder hundemüde. Trotzdem waren der Mussorgsky und der LIszt zufriedenstellend. Jetzt mal sehen, wie die Aufnahmen sind.

Yesterday I did something like a general rehearsal in the hall where I will be playing.

Piano, a specially selected Yamaha, not too big, (selected by the administrators of the hall) is very nice to play. As I already wrote, it is more "forgiving". However, there was a problem: the contra-E showed a big resonance effect. It was probably not the fault within the piano, but something in the stage setup was resonating. I dearly hope that it will be fixed.
Otherwise, I played the whole program with repetitions. In the middle of the last Beethoven-sonata I thought: OMG, i still will have to play the encores. But eventually it was okay and the listener did not realize any tiredness on my mehalf.

So I remain optimistic :)

das werde ich am Samstag erzaehlen und es wird auch ins Serbische uebersetzt werden.

Dear audience,

as in my last recital I am specializing today in Beethoven, especially in the first period of Beethoven's compositions.
The program of the first part is represented by a relative simple sonata, even called "sonata facile". You might remember this description from a very famous sonata composed by Mozart.
Well, it sounds simple but as always the simplest things are not always the easiest. But today it will be a sort of overture for the next sonata, which has become quite famous: the Pathetique, Beethoven opus 13.The Pathetique has been written in the years 1798 and 1799, so shortly before the turn of the century.
To me it seems that Beethoven wanted to show what he can do. There are a lot of emotions in this sonata. If I will be successful you might recognize the full power that Beethoven put into this sonata.
I have played this sonata a long time ago and as a young student it was easy to show off with this sonata. Today, I find so many details in this sonata that I can only wonder how much evaded my recognization of this sonata 40 years ago.


Second part:

right after the Pathetique two sonatas share an opus number right following the opus 13. The opus 14/1 in E-major and the opus 14/2 in G-major. I play them in reverse order, because the finish of 14/2 is just like looking at something going away from you and you can just imagine the last sounds of something that is leaving you. 14/1 has a defined end which is also very usable for the end of a concert.

So opus 14/2 is a lovely sonata with a melodious theme. The second theme and the third theme are both using "thirds", two parallel voices. For Beethoven this is not so explicitely known, but for Mozart and Richard Strauss that would definitely point out to two people in love. Apart from that you could hear a dialog between two voices that are talking - not argueing ! - with each other.

The second movement starts like a subdued military march but turns into a melodious theme with variations. The third movement moves joyfully along, but the second theme is like a lovesong.

opus 14/1 means a personal memory for me. My mother seems to have played it. So some of the themes were in my ears before I played them myself. Playing this sonata means absolute joy and fun. The second movement is also not slow, but rather a menuet.

The third movement moves fluently along and seems to be over much to soon.

Encores:
Mussorgski: the seamstress

In 1814 Josef Madersberger invented the sewing machine, 50 years later Mussorgski wrote this composition. You can clearly hear the machines clicking along. There seem to be many women working along, only to be interrupted sometimes by some gossiping during breaks.

Franz Liszt: Sposalizio

During the years of "his pilgrimage", Liszt discovered a painting from Raffael, called "Sposalizio", i. e. "betrothal". Liszt was so impressed by this picture that he wrote this compositions on the very same evening (I read somewhere). It is quite impressive and its change of very low sound and bright triumphant passage. For me, when I listened to it the first time, I was surprised as I found some prophecy to the compositions of impressionistic Claude Debussy. You will have to judge for yourself.

Ich habe gerad meine offizielle Konzertankündigung auf Facebook entdeckt und habe sie in meiner grenzenlosen Eitelkeit auch auf meiner Seite „geteilt“.