Next is Sonata No. 30, one of the final trilogy.
After working on No. 32 last time, I had begun to feel more comfortable with performing the piano part. Yet I still find myself at a loss each time my tadvisor gives me comments on a completely different level, such as: “Think carefully about why this note must be here—what Beethoven intended when he placed it.”
And even though I’ve grown used to MIDI programming, once the performance is rendered to audio, my teacher immediately points out mis-touches—programming slips—that I myself had completely missed. Moments like these remind me again just how different a true professional’s ears are.
The third movement, with its theme followed by six variations, was particularly challenging; each variation is not very long, yet shaping them—especially deciding how to express the character implied in the opening indication—took a considerable amount of time.
Here, I would like to share one of my teacher’s comments that left a deep impression on me:
*“In this variation, one might almost hear the sentiment of Ryōkan Oshō’s poem:
‘… In this world of dreams
I drift into slumber,
and speak again of dreams—
dreams simply unfolding
as dreams will.’* — Taigu
It is, interestingly enough, a work from nearly the same period.”
Song Title:
Title:.
Piano Sonata, Op. 109, No. 30, in E major
Sound source:
Sound Library:
Synchron Concert D-274
Audio file format: mp3
For streaming on a PC, please see this page.
Here
See 。
For streaming on a PC, please see
this page.