BEETHOVEN 250 / TANG TEE KHOON & LUCA BURATTO / Review

BEETHOVEN 250

TANG TEE KHOON, Violin

LUCA BURATTO, Piano

Esplanade Recital Studio

Sunday (9 January 2022)

This review was published in The Straits Times on 12 January 2022 with the title "Historic take on Beethoven's 10 violin sonatas".

 

History was made when Singaporean violinist Tang Tee Khoon and Italian pianist Luca Buratto performed all ten of Beethoven’s violin sonatas in four concerts over two evenings. This was a belated commemoration of the German composer’s 250 birthday, deferred from 2020 by the global Covid pandemic. All previous cycles presented here involving local musicians were shared by multiple violinists and pianists.

 

The sonatas were played in chronological order, with Sunday’s two concerts showcasing the Sixth to Tenth Sonatas, representing Beethoven’s maturity. The Op.30 trilogy, vastly contrasted works from his “Middle Period”, were performed first. The chemistry developed by violinist and pianist over the years was apparent from the outset, and steadfastly upheld all through the five works.

 

Tang’s violin tone was a voluminous one, easily filling the hall, even challenging the primacy of the piano. At the time of composition, Beethoven’s sonatas had given both instruments more or less equal billing, by being less piano-centred than before. This worked to the advantage of the music, as stresses and tensions were shared by both performers. For his part, pianist Buratto was no less than a most sympathetic and equally virtuosic collaborator.

 

The A major Sonata (Op.30 No.1) which opened the evening was all congeniality, with lyrical beauty shining through the first two movements before the finale’s smiling set of variations. This was starkly contrasted with the C minor Sonata’s (Op.30 No.2) turbulent upheavals, even bordering on violence. Loud and rude piano chords alternated with uncharacteristic daintiness, which made this work unsettling as it dug deep under one’s skin.

 

The G major Sonata (Op.30 No.3) is perhaps the best known of the three. Its sunny and light-hearted disposition was a balm for frazzled nerves, before a crisply articulated finale in fast tarantella rhythm closed the set on a exciting high.    

 

The Ninth Sonata in A major (Op.47), popularly known as the Kreutzer Sonata, is also Beethoven’s longest. The Magnum Opus of the genre opened with an exposed violin solo, one which Tang handled with much alacrity before plunging headlong into the gripping Allegro main section. Time stood still for variations that formed the central movement’s longeurs, leading into another tarantella finale, trickier and more thrilling than the last.

 

After the Kreutzer’s exertions, the Tenth Sonata (Op.96) in G major from Beethoven’s “Late Period” seemed almost apologetic by comparison. Mellow and unassuming for most part, it found a reading that probed spiritual realms with its show of equanamity. Even the leisurely finale had its share of humour by toying with listeners about when it was going to end.     

 

End it did, eliciting the loudest of applause at the close of the cycle. As if the sonatas were not enough work, the duo pleasured the appreciative audience after each session with violin transcriptions of lieder, including those by Schubert (Gretchen am Spinnrade), Richard Strauss (Morgen!) and Brahms (Wie Melodien zieht es mir). It was the first concert of the year, but had one just witnessed the year’s best concert?

All photographs by Clarence Aw, courtesy of Chamber Music & Arts Singapore.

THE COMPLETE BEETHOVEN VIOLIN SONATAS: UP CLOSE AND PERSONAL / More Than Music / Review

THE COMPLETE BEETHOVEN VIOLIN SONATAS:

UP CLOSE AND PERSONAL

More Than Music

Streamed on Facebook

Last Saturday & Sunday (29 & 30 August 2020)

This review was published in The Straits Times on 4 September 2020 with the title "An exuberant showcase of Beethoven's Violin Sonatas".

 

This year marks the 250 anniversary of the birth of great German composer Ludwig van Beethoven (1770-1827). No symphony or concertos cycles had been planned in Singapore but given the Covid-19 pandemic, one should be grateful for More Than Music’s online cycle of his ten violin sonatas.

 

Contrary to earlier publicity, this is not the first time such a cycle has been presented here. Back in 1999, veteran Penang-born pianist Dennis Lee performed with five young Singapore Symphony Orchestra violinists in three concerts at Victoria Concert Hall.

 

Nevertheless, this was still a showcase by a Who’s Who of Singapore’s classical scene: violinists Loh Jun Hong, Chan Yoong Han and Yang Shuxiang, partnered with Abigail Sin, Lim Yan and Albert Tiu, pianists who are also faculty members of the Yong Siew Toh Conservatory. All the performances were recorded at Esplanade Recital Studio and released online in published order every Saturday and Sunday afternoon since 23 August.

 

The ten sonatas spanned from 1798 to 1812, encompassing the “Early” and “Middle” periods of  Beethoven’s creative output. Like his better known piano sonatas, these display a wealth of expression, and feature very difficult piano parts which he played himself. Little wonder, these were often referred to as sonatas for piano with violin.

 

The early Op.12 trilogy is less often heard but are contrasted in emotions and feelings. No.1 in D major established his spirited and extroverted style, a conscious reaction to the gentility of Mozart’s sonatas for the same instruments. Loh’s incisive approach and excellent intonation, with Sin keenly responsive partnership, made it a pleasure to behold.

 

All the performers gave a short preamble, providing succinct insights to each work. Sonata No.2 in A major was more light-hearted, with even an air of mischief. Its humour in the outer movements was well captured by Chan and Lim (members of the well-established Take Five quintet), who also plumbed the depths in the slow movement’s more serious moments.  

The most exuberant of the set, Sonata No.3 in E flat major suited the duo of Yang and Tiu just fine. The former’s unbridled demonstration of passion found a perfect foil in the latter’s sensitive yet scintillating fingerwork. The casting of the sonatas and allocation of the respective performers had been spot on through out.

Sonata No.4 in A major (Op.23) was the first of the stand-alone sonatas. From the outset, its dramatic intensity and bristling energy saw Chan and Sin flexing muscle and sinew. Its heightened  tension was contrasted by the mincing steps and play of counterpoint in the second movement. This was before the finale’s unease, bringing back earlier trials and tribulations for a nervy finish.

 

This excellently curated cycle continues with Sonata No.5 and onwards from Saturday till 20 September at:

 

https://www.facebook.com/MoreThanMusicConcerts/ 

BEETHOVEN VIOLIN SONATAS / Renaud Capuçon and Frank Braley / Review

BEETHOVEN Violin Sonatas

Renaud Capuçon, Violin

Frank Braley, Piano

Yong Siew Toh Conservatory

Monday (28 February 2011)

This review was published in The Straits Times on 3 March 2011 with the title "Sated by Beethoven".

The French violinist Renaud Capuçon’s lesson on Beethoven’s violin music continued with performances of the ten sonatas for piano and violin over three evenings at the Conservatory. To be able to attend all three recitals would have been musical paradise itself, but a single evening’s treats was enough manna from heaven to keep one sufficiently sated.

Beethoven conceived these works for his own role as pianist, and so the piano is more often the protagonist and has more the notes to overcome. For this, French pianist Frank Braley’s sensitive advocacy deserved every bit of credit in the vital partnership. The togetherness of both pianist and violinist made every note and phrase greater than the sum of individual parts.

Only four years (from 1799 to 1803) separated the three sonatas on show this evening, fruits of Beethoven’s impetuous youth. Sonata No.4 in A minor (Op.23) opened with fiery and passionate gestures, oft associated with the composer’s fist-shaking and table thumping exploits.

United and empowered by the force of will, the duo scaled its heights and plumbed the depths. The slow movement was an intimate conversation between the two, but inhabited with the lightness of friends sharing a quiet joke. The finale mixed wit with seriousness, as it is with much of Beethoven.

Next was Sonata No.3 in E flat major (Op.12 No.3), distinguished by a most daunting piano part, yet one closely intertwined with the violin. The hymn-like central movement, shaded with much care, looked forward to more mature vistas. A chirpy Mozartean Rondo that closed flew on feathered wings, but coloured with Beethoven’s more earthy and raucous humour.

The longest and most famous was Sonata No.9 in A major (Op.47), better known as the Kreutzer Sonata. Capuçon’s finely-shaded solo set the tone for dramatics that was to influence Tolstoy’s violent novella of the same title. The second movement’s variations were perfectly judged, where its longeurs caressed, passing like mere seconds. This was the calm before the storm, with a furious swirling tarantella in the Presto finale sweeping the audience into raptures.

The frisson of live performances - amply supplied this evening - remind us why, despite the many wonderful recordings available, the joy of concert going will never go out of fashion.

CHAN YOONG HAN on Beethoven's Violin Music / A Short Interview

Here's one concert you don't want to miss:

RENAUD CAPUÇON GALA
BEETHOVEN Violin Concerto
with the Singapore Symphony Orchestra
conducted by Lan Shui
26 February 2011, 7.30 pm
Esplanade Concert Hall
Tickets available at SISTIC

The renowned French violinist RENAUD CAPUÇON performs Beethoven’s Violin Concerto in D major (Op.61) with the Singapore Symphony Orchestra and follows with three evenings of Beethoven’s ten violin sonatas (27 February – 1 March, 8 pm) with pianist Frank Braley at the Yong Siew Toh Conservatory (Tickets available at SISTIC). Although Beethoven was mostly a keyboardist, what was it that distinguished his music for the violin? SSO first violinist CHAN YOONG HAN (left) muses on the great German’s legacy for the strings.

Beethoven was neither a violinist, nor is his only violin concerto the most outwardly virtuosic work in the repertoire, yet many regard it as the pinnacle of the genre. Why do you think that is so?

The truth was this: its first performance did not receive favourable reviews. It was not until years later, after a performance by Joseph Joachim, that it became popular. This was perhaps due to the fact that this concerto was the first to be regarded as a symphonic work in which the solo violin was merely a line in the overall orchestral texture. One could forget its monumental length (about 45 minutes) while sitting through a performance of it due to its sheer beauty and perfect structure. As a violinist, performing this work is likened to recreating a perfect image and voice of an angel. You are always trying very hard not to spoil it!

Beethoven’s music is known for its masculine attributes, its vitality and muscularity, yet he can also sound retiring, lyrical and sublime. The slow movement, in particular, has these qualities. What do you think he was trying to convey?

Many of us choose to associate Beethoven for his heroic and victorious music. However, one of his most important musical contributions, which gave many musicologists the reason to regard him as a Romantic composer, was his unyielding search for a reason to live through his art. I relate to Beethoven more as an introspective musician in search of universal truth, beauty, love, hope and joy, within a life that was frustrated by deafness and social awkwardness. I think this movement was a reflection of his yearning for love and contentment.

The finales of Beethoven’s concertos were invariably Rondos, or round dances, often far more light-hearted than what comes before. Was he quite a jolly personality under an austere and irascible cloak?

Absolutely! And not to forget, very often mischievous! He was also merely adhering to a style that was common practice in the Classical concerto form by using a country dance, or folk dance from an "exotic" region, to make the finale more accessible to the general audience.


Beethoven’s violin sonatas were published as “sonatas for piano with violin accompaniment”. Does this necessarily diminish the role of the violin?

If you observe the score, the sharing of thematic, accompaniment and important motivic ideas is ubiquitous between both violin and piano parts. Very often, Beethoven would even repeat a theme twice in order to allow for each instrument to play it. However, due to the nature of the keyboard instrument, the piano part contains much of the harmonic foundation which holds the key to the soul of the music.

Of the 10 sonatas, which do you feel closest to and why?

It is very hard to choose a favourite because every sonata has a unique story. The Spring (Op.24) and Kreutzer (Op.47) Sonatas used to be favourites during my teens; Kreutzer for its virtuosic "concerto" writing and Spring for its beautiful melodies. In the past decade, I started to discover the dramatic and autobiographical content of his other sonatas such as the A minor (Op. 23) and C minor (Op. 30 No.2). I feel one could learn so much about Beethoven's psyché from these sonatas. His manipulation of forms, structures and expectations was a reflection of his social and psychological existence. Having said that, the G major (Op.96, left) will always feel closest to me. Like the violin concerto, it is just so sublime and beautiful throughout.

Chan Yoong Han was interviewed by PianoManiac.