{"id":5366,"date":"2019-07-31T10:13:09","date_gmt":"2019-07-31T09:13:09","guid":{"rendered":"http:\/\/www.larkreviews.co.uk\/?p=5366"},"modified":"2019-07-31T10:15:10","modified_gmt":"2019-07-31T09:15:10","slug":"jonathan-biss-250th-anniversary-of-beethovens-birth-in-2020","status":"publish","type":"post","link":"https:\/\/www.larkreviews.wickedlemon.co.uk\/?p=5366","title":{"rendered":"Jonathan Biss: 250th anniversary of Beethoven\u2019s birth in 2020"},"content":{"rendered":"

\u201c<\/span>The idea of Beethoven as the grim, set-faced perpetual striver, far too intent on storming the heavens to allow himself the luxury of even a passing smile, has fortunately taken a bit if a knock in recent years.\u00a0 There is also playfulness, wit…and nowhere more so than in the piano sonatas.\u00a0 Not only is American pianist Jonathan Biss a highly refined and intelligent musician, but he also understands this aspect of Beethoven as well as anyone performing today… it’s hard to think of another pianist who communicates such a sense of sheer delight.\u201d\u00a0<\/span> <\/em><\/p>\n

BBC Music Magazine, July 2018<\/p>\n

\"\"<\/a><\/p>\n

Renowned American pianist Jonathan Biss\u2019s fascination with Beethoven dates back to childhood and the composer\u2019s music has been a constant throughout his life. His deep musical curiosity has led him to explore Beethoven\u2019s music in a multi-faceted way, through concerts, recordings, teaching, writing and commissioning.<\/p>\n

As Jonathan explains, Beethoven cannot be ignored: “Our relationship to Beethoven is a deep and paradoxical one. For many musicians, he represents a kind of Holy Grail: his music has an intensity, rigor, and profundity which keep us in its thrall, and it is perhaps unequalled in the interpretive, technical, and even spiritual challenges it poses to performers. At the same time, Beethoven\u2019s music is casually familiar to millions of people who do not attend concerts or consider themselves musically inclined. Two hundred years after his death, he is everywhere in the culture, yet still represents its summit.<\/em> ”<\/p>\n

Starting in September 2019, in the lead-up to the 250th anniversary of Beethoven’s birth in December 2020, Jonathan will perform a whole season focused around Beethoven\u2019s Piano Sonatas, with more than 50 recitals worldwide. This includes performing the complete sonatas at the Wigmore Hall and Berkeley, multi-concert-series in Washington, Philadelphia and Seattle, as well as recitals in Rome, Budapest, New York and Sydney.<\/p>\n

Jonathan\u2019s ambitious nine-year project to record the complete cycle of Beethoven\u2019s piano sonatas, reaches its conclusion in 2019 with the release of the final disc in his nine-volume set. Considered the cornerstone of the pianist\u2019s repertoire, the cycle comprises thirty-two sonatas in a range of emotional expressions. For Jonathan these sonatas have been life-long companions and a source of constant inspiration as articulated in his 2011 publication Beethoven\u2019s Shadow. <\/em>The first Kindle eBook to be written by a classical musician, Beethoven\u2019s Shadow <\/em>explores the rationale behind the recording of the sonatas and gives an insight into the power of Beethoven\u2019s music. Jonathan writes: “I am recording all of Beethoven\u2019s Piano Sonatas: Because he takes my breath away. Because he does so frequently, and in a way no other musical or life experience can replicate.\u201d <\/em><\/p>\n

Jonathan is passionate about bringing Beethoven\u2019s music to a wider audience. In 2013 he launched Exploring Beethoven’s Piano Sonatas<\/em>, a collaboration between Jonathan, the Curtis Institute of Music – where he both studied and now teaches \u2013 and Coursera, the leading provider of \u201cmassive online open courses.\u201d The free course continues to be updated and has reached over 150,000 learners in 185 countries. The lectures take an inside-out look at the 32 piano sonatas and are aimed at a wide range of abilities – from musical novice to expert.\u00a0 To aid greater understanding and to answer students, Jonathan has hosted meet-ups and Google Hangout “office hours”. These continue into 2019\/2020 when there will be a Coursera meet-up attached to each one of his Wigmore Hall Beethoven concerts.<\/p>\n

Beethoven\u2019s contemporary legacy is just as important for Jonathan, who initiated Beethoven\/5, a project to commission five piano concertos as companion works for each of Beethoven’s piano concertos. The resulting pieces, from some of today\u2019s most important composers, re-imagine Beethoven for the twenty-first century: Timo Andres The Blind Banister <\/em>(2015), Sally Beamish City Stanzas <\/em>(2017), Salvatore Sciarrino Il sogno di Stradella <\/em>(2017), Caroline Shaw Watermark <\/em>(2019) and Brett Dean Gneixendorfer musik – Eine Winterreise <\/em>(2020).<\/p>\n

 <\/p>\n

London, Wigmore Hall, Beethoven Piano Sonatas Cycle<\/p>\n

Date:\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0 29 September 2019<\/h6>\n
Programme:\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0 \u00a0Piano Sonata No. 1 in F minor, Op. 2 No. 1<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 9 in E major, Op. 14, No. 1<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0 \u00a0Piano Sonata No. 13 in E-flat major, Op. 27 No. 1<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Quasi una fantasia<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0 \u00a0\u00a0Piano Sonata No. 12 in A-flat, Op. 26 Funeral March<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 21 in C major, Op. 53 Waldstein<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Post-concert talk Jonathan Biss <\/em><\/h6>\n

 <\/p>\n

Date:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a019 December 2019<\/h6>\n
Programme:\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 4 in E-flat major, Op. 7<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 17 in D minor, Op. 31 No. 2 Tempest<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 5 in certain minor, Op. 10 No. 1<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 23 in F minor, Op. 57 Appassionata<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Post-concert talk with Belcea Quartet <\/em><\/h6>\n

 <\/p>\n

Date:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a026 January 2020<\/h6>\n
Programme:\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 15 in D major, Op. 28 Pastorale<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 20 in G Major, Op. 49, No. 2<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 3 in C major, Op. 2 No. 3<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 27 in E minor, Op. 90<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 28 in A major, Op. 101<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Post-concert talk with Brett Dean <\/em><\/h6>\n

 <\/p>\n

Date:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a028 February 2020<\/h6>\n
Programme:\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 6 in F major, Op. 10 No. 2<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 10 in G major, Op. 14 No. 2<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 18 in E-flat major, Op. 31 No. 3<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Hunt<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 29 in B-flat major, Op. 106 Hammerklavier<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Post-concert talk with Sally Beamish <\/em><\/h6>\n

 <\/p>\n

Date:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a020 April 2020<\/h6>\n
Programme:\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 25 in G major, Op. 79<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 11 in B-flat major, Op. 22<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 14 in C-sharp minor, Op. 27 No. 2<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Moonlight<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 24 in F-sharp major, Op. 78<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 30 in E major, Op. 109<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Post-concert talk with Jan Swafford <\/em><\/h6>\n

 <\/p>\n

Date:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a09 May 2020<\/h6>\n
Programme:\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 19 in G minor, Op. 49 No. 1<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 1 in G major, Op. 31 No. 1<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 7 in D major, Op. 10 No. 3<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 31 in A-flat major, Op. 110<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 2 in A major, Op. 2 No. 2<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0Post-concert talk with Mitsuko Uchida<\/em><\/h6>\n

 <\/p>\n

Date:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a025 June 2020<\/h6>\n
Programme: \u00a0\u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 8 in C minor, Op. 13 Pathetique<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 22 in F major, Op. 54<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 26 in E-flat, Op. 81a Les Adieux<\/em><\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Beethoven\u00a0\u00a0\u00a0 Piano Sonata No. 32 in C minor, Op. 111<\/h6>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Post-concert talk Jonathan Biss <\/em><\/h6>\n
<\/h6>\n
Tickets:\u00a0\u00a0\u00a0\u00a0 \u00a340, \u00a335, \u00a330, \u00a325, \u00a318<\/strong><\/h6>\n
Box Office:\u00a0 020 7935 2141<\/strong><\/h6>\n
Online:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0 https:\/\/wigmore-hall.org.uk\/whats-on\/whats-on<\/a><\/strong><\/h6>\n","protected":false},"excerpt":{"rendered":"

\u201cThe idea of Beethoven as the grim, set-faced perpetual striver, far too intent on storming the heavens to allow himself the luxury of even a passing smile, has fortunately taken a bit if a knock in recent years.\u00a0 There is … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"_links":{"self":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/5366"}],"collection":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5366"}],"version-history":[{"count":2,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/5366\/revisions"}],"predecessor-version":[{"id":5369,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/5366\/revisions\/5369"}],"wp:attachment":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5366"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5366"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5366"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}