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Enregistré à la maison de la Musique (...)

Enregistré à la maison de la Musique de Nanterre.
Source : CD fait au Etats-Unis par la société NAXOS.

[extrait] (1984) : 1’38" (2Mo)
[extrait] (1977) : 1’53" (2, 59 Mo)
[extrait] (1987) : 58" (1,34 Mo)
[extrait] (1981) : 1’ 02" (1,42 Mo)
[extrait] (1981) : 1’ 13" (1,7 Mo)
Sorôn Ngô
[extrait] (1981) : 48" (1,09 Mo)

Concert at Nanterre (April 2008)

This is an opportunity for me to (...)

This is an opportunity for me to introduce to Paris the completion of a work on the first three sonatas of Beethoven, inspired by the research that George Kan, musicologist and editor, conducted on the oldest editions of these sonatas (Artaria of Vienna, 1796), and on the manuscripts of Beethoven.

Sonata Opus 2 # 1 and # 2 Beethoven, Nanterre April 6, 2008

Beethoven, pianist, conference, concert

It is a new vision that has been proposed, which certainly breaks with the romantic and dramatic perception associated with this famous composer and pianist.
The first three Beethoven sonatas performed by Martine Vialatte from the oldest editions Artaria, Vienna.
Beethoven "pianist "
Sonata Opus 2 # 1
Sonata Op 2 # 2
Sonata Op 2 # 3


Beethoven – The Pianist Or how the (...)

Beethoven – The Pianist

Or how the clues recorded in the Sonatas’ scores allowed the composer to keep track of his piano playing and thus ensured the durability of the interpretation of his work.

Conference by Georges Kan, Publisher and Musicologist

The Music Room – The Nanterre Centre for Music - Friday, April 4th 2008
As a prelude to Martine Vialatte’s concert
The Nanterre Centre for Music - Sunday, April 6th 2008
L. van Beethoven : Sonatas Op 2 3 (pre-romantic reconstitution)

Georges Kan (European Music Publishing) launched a project in 2005 to review and republish the
sonatas of Ludwig van Beethoven. By referring to the manuscripts when they exist, and to the first publications – as it happens The 1796 Artaria Wien Edition for opus 2 and a test of the same edition corrected by Beethoven himself (Staatsbibliothek zu Berlin) – Georges Kan managed to discover a completely different vision than the one inherited from the Romantic Century. A lot of small details have been erased or distorted in the republications of the 19th Century. This truncated reading has been passed and still serves as a basis for many modern editions.

The pre-romantic reconstruction is long and tedious. It takes place in each articulation, each dynamic. It targets each of these elements in its context, while maintaining a holistic approach to the work. While the work was progressing, a certainty appeared : Beethoven sought to encode pianistic tricks in his scores that reflected his virtuosity. As a great improviser in the salons of Vienna, he was admired and envied for his playing that produced " tears and sobs" in the audience (as Czerny) and displayed his great pianistic prowess.

At least for the first sonatas, publication rights were sought by the composer who directly edited, bypassing the difficulties imposed by Artaria despite the recommendation of master Haydn (as for Opus 1, the young Louis van Beethoven had to launch a subscription to ensure his editorial project - which amounted to publishing the author work).

Despite everything that has been said about the quality of these first editions, it appears that they are excellent and that the engravers at the time scrupulously respected the manuscript (which is now lost). To return to the pieces that Beethoven saved, they mainly concern fingering related to joints, the development of dynamic plans, virtuosity and even mnemonics. Georges Kan shows how some fingerings that are not used anymore can be used if you follow the original articulation (unfortunately distorted in all subsequent editions - except in this first Artaria edition).

He also shows how small variations that can be seen at certain times are not due to a lack of editorial rigor but reflect the efficiency of the navigation that allowed Beethoven to manage at best his marathon-like recitals. The exact meaning of several dynamics is lightened at last and makes the instrument sounds convincing thanks to a play without pedals using lesenza sord. For some sections (piano Walter, one of the emblematic Hammerfloegel in 18th Century Vienna was most of the time equipped with knee pads, one to erase the dampers, and the other for the celestial play). The very fast tempi sweat from Beethoven’s writing who, by clearly establishing the hands division and even the use of the glissando (cf. movement #4 in Sonata #2), set the impassable limits of the possible nimbleness.

A Beethoven’s renewed universe to discover at the presentation of the sources and first steps of this new publication, soon to be released by Editions Musicales European.

"Text reproduced with the courtesy of European Music Publishing "