Emma Lisney violin
Joy Lisney violoncello
James Lisney piano

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Concert I 4pm
Sonata in G, opus 96 for piano and violin
Trio in B flat, opus 97, for piano trio (Archduke)

Archduke Rudolph Johann Joseph Rainer (1788-1831), Beethoven’s most generous and constant patron, received the dedications of fourteen works that included the piano sonatas opus 81a (Les Adieux) and opus 106 (Hammerklavier), the piano concerto opus 73 (Emperor) and the Missa Solemnis opus 123. 

The Violin Sonata opus 96 was written in 1812, the Archduke giving the first performance together with the violinist Pierre Rode. Shortly before completing the work, Beethoven wrote to the Archduke Rudolph,

“…I did not make great haste in the last movement for the sake of mere punctuality, the more because, in writing it, I had to consider the playing of Rode. In our finales we like rushing and resounding passages, but this does not please R - this hinders me somewhat.”

Nonetheless, opus 96 is recognised as a lyric masterpiece and entirely suitable as Beethoven's last word on this genre.

Though taking the next opus number, the Archduke Trio was completed earlier in 1811. The first performance was given in 1814 by Beethoven himself, with Ignaz Schuppanzigh (1776-1830) and Joseph Linke (1783-1837) taking the string parts. Beethoven’s deafness continued to encroach upon his ability as a performer and after a second performance, a few weeks later, Beethoven did not appear again in public as a pianist.

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Concert II 8pm
Sonata in C, opus 102/1 for piano and violoncello
Sonata in D, opus 102/2 for piano and violoncello
Sonata in c, opus 111, for piano

This programme of ‘final sonatas’ features dedications to two women who played a great rôle in Beethoven’s life.

The two Cello Sonatas, opus 102 were dedicated to Countess Anna Maria Erdödy (1779-1837), a competent pianist who had known Beethoven for at least seven years. The Hungarian Countess organised regular musical gatherings at her summer residence in Jedless near Vienna. She employed the cellist Joseph Linke, prompting Beethoven to write for the duo format. The resulting works are particularly distinctive for their concision, their freedom and for a first blossoming of Beethoven’s radical ‘late style'.

The final dedication, the great Sonata for piano, opus 111, is to Antonie Brentano (1780-1869), the woman most likely to have been Beethoven’s Immortal Beloved; Brentano was a last minute change from the orignal intention to dedicate to the Archduke Rudolph. Beethoven described the last two sonatas (opus 110 and 111) as “not very difficult” but opus 111 is notorious for its technical and interpretative challenges, including such unusual notational devices as ’twelve thirty-two time’ and passages that combine both trills and tremolo.

As the sonata contains only two movements, the publisher asked Beethoven whether he had forgotten to send the finale. The spiritual depth of this extended set of variations, however, provide the perfect close to Beethoven’s opus 111 - and, indeed, to his cycle of piano sonatas.

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West Road Concert Hall is a COVID-secure venue, compliant with government guidelines.

• Bookings are to be made up of one household/bubble (maximum 6 people).
• The capacity of the hall has been reduced to allow household groups to sit 2m apart.
• Face coverings are required at all times.
• Sanitiser dispensers are available throughout the building.
• There will be no interval during either concert.

Further information is available at http://www.westroad.org/covid-19-guidelines/