The term "post-modern"enters this blog sort of tongue in cheek, especially in relation to Beethoven.  I am writing this post in Berlin where I am enjoying the privilege of playing Beethoven sonatas almost non-stop for my dear friend, composer Ursula Mamlok.  As I have learned so much from her about how a composer's mind works I feel it is my turn to give back to her how a performer's mind works in regard to these sonatas which she so dearly loves.  
Today it was two of my favorites: Opus 27 - the No. 1 that nobody plays because it makes so little sense, and the No. 2 that "everybody" plays without noticing its secret sense-- the "Moonlight," one of my big numbers.  
 


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