Piano Sonata No. 30 in E major, Op.109

Piano Sonata No. 30 in E major, Op.109

Piano Sonata No. 30 in E major, Op.109

Ludwig van Beethoven

Finghin Collins's masterclass

Produced by the Saline royale Academy English Subtitles are available in English Music sheet annotated by  Finghin  Collins  is available 48 min Piano

In this masterclass, Professor Finghin Collins is here with young Swiss pianist Gaston Schadt from Lausanne, who is going to play the first two movements of Beethoven's Sonata, Opus 109, the E Major Sonata Lake.

Produced by the Saline royale Academy

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The masterclass

About this masterclass

In this masterclass, Professor Finghin Collins is here with young Swiss pianist Gaston Schadt from Lausanne, who is going to play the first two movements of Beethoven's Sonata, Opus 109, the E Major Sonata Lake.

Professor Collins listens with great attention to Gaston's interpretation. After congratulating the young student for an excellent performance, he proceeds to define the contrast between the two movements. He leads Gaston towards an implicit understanding of Beethoven's emotional depiction. Collins explains in lyrical details how dynamic changes, contrasts, colors, annotations, are all tools to improve one's confidence during rendition.

What we learn in this masterclass

  1. How and when to use soft pedal,

  2. To be able to pinpoint reasons behind contrast,

  3. Improving one's sensibility towards contextualization,

  4. Having convictions or at least knowledge on a piece before practicing it,

  5. Developing the ability to foresee dynamic changes.

Piano Sonata No. 30 in E major, Op.109 by Ludwig van Beethoven

Beethoven's 30th sonata, Op. 109, was written in 1820 and dedicated to Maximiliane Bentrano. After the Hammerklavier, Beethoven returns to a smaller scale and a more intimate character. Musically, the work is characterised by a free and original approach to the traditional sonata form. Its focus is the third movement, a set of variations that interpret its theme in a wide variety of individual ways. The first pianists to undertake to bring Beethoven's last sonatas, including Op. 109, to public attention were Franz Liszt, who regularly included them in his programs between 1830 and 1840, and Hans von Bülow, who even included several of the late sonatas in one evening.

  • Date:21 February 2022
  • Producer: Produced by the Saline royale Academy
  • Duration:48 min
  • Spoken language:English
  • Subtitle languages: English

Sheet music

Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this piano masterclass. Please note that this piece has been annotated in accordance to Finghin Collins’ feedback and comments.

Sheet music piano sonata no. 30 in e major, op.109

Finghin Collins

Finghin  Collins

Winner of the Clara Haskil Competition in 1999

One of Ireland's most successful musicians, Finghin Collins was born in Dublin in 1977 and, following initial lessons with his sister Mary, studied piano at the Royal Irish Academy of Music with John O'Conor and at the Geneva Conservatoire with Dominique Merlet. Winner of the RTÉ Musician of the Future Competition in 1994 and the Classical Category at the National Entertainment Awards in Ireland in 1998, he went on to take first prize at the Clara Haskil International Piano Competition in Switzerland in 1999. Since then, he has continued to enjoy a flourishing international career that takes him all over Europe and the United States, as well as the Far East and Australia. 

Collins has performed with such orchestras as the Chicago Symphony Orchestra, Houston Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Budapest Festival Orchestra, Orchestra of the Eighteenth Century, Orchestre de la Suisse Romande, Gulbenkian Orchestra, Seoul Philharmonic Orchestra, BBC Symphony Orchestra, BBC Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, Bournemouth Symphony Orchestra and the City of Birmingham Symphony Orchestra, garnering consistent praise from critics and public alike.

Performances across Europe have included such prestigious venues as Symphony Hall Birmingham, Royal Albert Hall, Wigmore Hall, The Barbican and Cadogan Hall, London, the Concertgebouw Amsterdam (both halls), De Doelen Rotterdam (both halls), Théâtre du Châtelet and Salle Cortot Paris, Salle Molière Lyon, Liederhalle Stuttgart, Auditorio Nacional Madrid, Palao de la Musica Valencia, Gulbenkian Hall Lisbon, Sala Verdi Milan, Teatro Manzoni Bologna, Konzerthaus Berlin, Konzerthaus Vienna, Franz Liszt Academy Budapest, Philharmonic Hall Warsaw and the Auditorium Stravinski Montreux.  He has also performed at Carnegie Hall, New York and the Kennedy Center, Washington DC, as well as at both Ravinia and Gilmore Festivals in the USA.

Finghin Collins is very active as a programmer, commissioner and concert presenter in Ireland, having been Artistic Director of the New Ross Piano Festival since its inception in 2006, and Artistic Director of Music for Galway since 2013. In 2020, Music for Galway presents the main classical program as part of Galway 2020 European Capital of Culture, including the inaugural edition of CELLISSIMO, a new triennial cello festival. 

Collins is also co-founder and co-Artistic Director of the International Master Course at Dublin’s National Concert Hall, together with violinist Gwendolyn Masin. In October 2017, the National University of Ireland conferred on him an honorary Degree of Doctor of Music, in recognition of his outstanding achievements.

van Beethoven

Ludwig van Beethoven

Born in Bonn, Germany in 1770, Ludwig van Beethoven is one of the most mainstream references of Classicism — a pianist, composer, and an unequivocal genius. Descending from a long line of musicians, Beethoven studied music from an early age, beginning with the piano, clarinet, and the organ. At the ripe age of 11-years-old, Beethoven received his first job as a court organist, replacing his own teacher for a period of time. A veritable young prodigy, Beethoven was publicly compared to Wolfgang Amadeus Mozart, and a few years later, the young musician traveled to Vienna to briefly study under the tutelage of Mozart himself. In his late 20s, Beethoven noticed difficulties with his hearing and by his mid 40s, he was completely deaf and unable to vocally communicate. Despite this misfortune, he remarkably continued to compose music. Beethoven’s Symphony No. 9 was written after he had entirely lost his hearing. 
 While his early musical career heavily reflected the Viennese Classical tradition inherited by the likes of Mozart and Haydn, Beethoven achieved a unique revolutionary identity by the end of his career. Deceased in 1827, his wake was a public event that gathered around 10,000 people. Despite his passing, Beethoven’s legacy lives on. His works anticipated many of the features that would characterize music in the romantic era and even that of the 20th century.

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