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Huskonsertene i Indre Fosen har invitert pianist Yegor Shevtsov tilbake for fjerde gang, og denne gangen med et fantastisk prosjekt: han spiller hele 12 Beethoven sonater spredt over 3 kvelder, og 2 hus! Vi gleder oss enormt!Kveld 1:
Tirsdag 24. februar, kl. 18:00
Hjemme hos Anne Mugås og Finn Yngvar Benestad
Krobakken 32 i Rissa
Kveld 2:
Fredag 27. februar, kl. 18:00
Hjemme hos Ellen, Anton og Noah
Heggli gård, Helsetveien 140 i Stadsbygd
Kveld 3:
Søndag 1. mars, kl. 15:00 (OBS! ny tidspunkt!)
Hjemme hos Ellen, Anton og Noah
Heggli gård, Helsetveien 140 i Stadsbygd
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Påmelding:
til Ellen (48383647 eller [email protected])
Inngang:
Frivillig inngang, "Pay-what-you-can" :)
Forslag: 250 kr. voksen, 175 kr. student/honnør
Betaling med VIPPS eller kontant ved døra.
(For dere som kommer alle 3 kvelder, er forslaget 650 kr. voksen, 450 kr. student/honnør❤️)
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Program:
Tirsdag 24. februar:
Nr. 27 i e-moll, op. 90
Nr. 23 i f-moll, Op. 57, “Appassionata”
-pause-
Nr. 6 i F-dur, Op. 10, nr. 2
Nr. 30 i E-dur, Op. 109
Fredag 27. februar:
Nr. 24 i Fiss-dur, Op. 78, “à Thérèse"
Nr. 4 i Ess-dur, Op. 7
-pause-
Nr. 14 i ciss-moll, Op. 27, Nr. 2, “Måneskinnsonaten”
Nr. 31 i Ass-dur, Op. 110
Søndag 1. mars:
Nr. 8 i c-moll, Op. 13, “Pathétique ”
Nr. 28 i A-dur, Op. 101
-pause-
Nr. 22 i F-dur, Op. 54
Nr. 32 i c-moll, Op. 111
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Yegor Shevtsov is a solo pianist, writer, chamber musician, recording artist, collaborator and educator. He is currently pianist in the Arctic Philharmonic. His performances have been singled out for their “Mozartean elegance,” “perfect lucidity” (The New York Times) and “superb musicianship” (The Miami Herald). His recent engagements have included appearances at Bergen International Festival (Norway), Fajr Festival (Iran), Lincoln Center (USA), Tokyo Bunka Kaikan (Japan), the National Theater in Taipei (Taiwan) and Auditorio de Ciudad de León (Spain), as well as collaborative and solo recitals in Italy, United Kingdom, and across the United States. His recording of the piano music of Claude Debussy and Pierre Boulez was selected by rhapsody.com as one of the top 25 classical albums of 2013. He is prominently featured on several recent recordings, Reiko Füting’s Gelöschte Namen (September 2015), Red Light New Music’s Barbary Coast (July 2015), Dmitri Tymoczko’s Rube Goldberg Variations (2017) and James Newton’s The Manual of Light (2018).
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Why Beethoven?
Most pianists, when asked about their relationship to Beethoven’s music, will recall their years at the conservatory, studying a couple of sonatas at certain points of their education. Viewed through that prism, Beethoven is both a culmination of what we call “classical style” (music of mature Haydn, Mozart and Beethoven), and a portal to the heroic escapades of the pianists of Liszt’s generation. It is true — as a matter of fact, it is Beethoven’s solo piano music that gave birth to the now decaying art of solo piano recital.
Most other people, when asked about their relationship to Beethoven, will either name a Hollywood movie about a cute Saint Bernard, or perhaps recall the Ninth Symphony being the anthem of the European Union. I once met a man who had the opening bars of Moonlight Sonata tattooed on his chest. He definitely liked the piece, but couldn’t really talk Beethoven, or his piano music, although seen through the gauzy tee, the score on his chest had a certain wertheresque air of Weltschmerz about it. A few piano nerds may remember poking around Für Elise, that elusive and captivating short composition. The most well-read among us might flex their literary muscle with Thomas Mann, Friedrich Nietzsche or Milan Kundera.
So it is hardly surprising that the place Beethoven has occupied in our imagination is similar to that of Leonardo Da Vinci or Homer: another dead white man we are taught to respect and admire, a titan of the past used as a cudgel against the perceived mediocrity permeating the present. Beethoven continues to live in our shared imagination: in a glass museum cabinet, in the shape of a sexy tattoo — a musical accompaniment in the movie about our tireless pursuit of domination and oppression.
My project aims to break the glass display cabinet in which much of Beethoven’s music now lives, and present it first and foremost as a personal companion to my own life.
About twenty years ago, I was one of a handful of lucky young pianists who attended a complete 32-sonata cycle performed from memory by Daniel Barenboim at Carnegie Hall over the course of a month (it takes about 11-12 hours to play all 32 sonatas, and it takes a lifetime to learn them). At the same time, these same lucky pianists got to sit in on each other’s public lessons with Barenboim on many of these works. This event was eventually produced as a full-fledged documentary, presented as a series of lessons Barenboim gave to several (distinctly fancier) pianists.
The memories of that period of time, however, and the life-changing gift of binge listening to Beethoven played live by an accomplished pianist in a great acoustic environment inspired me to offer my own miniature Beethoven marathon. Spanning three evenings, with four sonatas in each, the marathon offers audience members to live through about five and a half hours of this music with me, and to see what happens to all of us at the end.
Each of the three evenings features sonatas from all periods of Beethoven’s life, both before and after the near-deafness that helped define his late style and was a catalyst to his plan to end his life in 1801, at the age of 31. Each evening closes with one of the three last sonatas, each wildly unique, expressive and profoundly moving. Each evening will also feature a “household name” sonata, such as Appassionata, Pathetique or Moonlight. I have played all three evenings in Bodø, and half of the sonatas in Zurich already this year. Next year I start with Svalbard and Tromsø, and continue on to other places near and far.
By sharing some of my brief personal observations, I also hope to ignite the same passion for this music in the listener. Beethoven is just as raw and gorgeous, as opaque and empathetic, as authoritative and tender as he was two hundred years ago — if we let him in.
And, unlike a Netflix show, and like life itself, once it is over, it is over. Let’s live it.
— Yegor Shevtsov
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Huskonsertene i Indre Fosen er støttet av Kulturrådet, Trøndelag fylkeskommune og Indre Fosen kommune.
Foto: Frida S. Bringslimark
Vel møtt!
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Heggli gård, Helsetveien 140, 7105 Stadsbygd, Norge, Trondheim, Norway
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