Piano sonata No. 17, Op. 31, part 1
Piano sonata No. 17, Op. 31, part 1
Ludwig van Beethoven
Produced by the Saline royale Academy in April, 2021 at Arc-et-Senans.
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 Till Fellner’s feedback and comments.
First prize in the Clara Haskil International Piano Competition in Vevey, Switzerland in 1993.
Till Fellner’s international career began in 1993 when he won first prize at the Clara Haskil Competition in Vevey, Switzerland. Since then, he has been regularly invited to play for prestigious orchestras, festivals and music centres of Europe, the United States and Japan. He collaborates with world-famous musicians. In addition, he has produced numerous recordings of the most important works in the piano repertoire. He has been teaching at the Zurich Hochschule der Künste since 2013.
Till Fellner’s international career began in 1993 with the 1st prize at the renowned Concours Clara Haskil in Vevey (Switzerland). Since then, he has been a sought-after guest at the major orchestras and the major music centres of Europe, the USA and Japan, as well as at numerous festivals.
As soloist he performs with orchestras like Berlin Philharmonic Orchestra, Vienna Philharmonic Orchestra, Koninklijk Concertgebouworkest Amsterdam, New York Philharmonic Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra and NHK Symphony Orchestra. Till Fellner has collaborated with Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Semyon Bychkov, Christoph von Dohnányi, Christoph Eschenbach, Bernard Haitink, Nikolaus Harnoncourt, Manfred Honeck, Sir Charles Mackerras, Sir Neville Marriner, Kurt Masur, Kent Nagano, Jonathan Nott, Kirill Petrenko, Hans Zender among many others. In the field of chamber music, Till Fellner regularly collaborates with British tenor Mark Padmore and with the Belcea Quartet. In autumn 2020 he will tour with violinist Viviane Hagner. Over the past few years he has dedicated himself to two milestones of the piano repertoire: The Well-Tempered Clavier of Johann Sebastian Bach and the 32 piano sonatas of Ludwig van Beethoven. He performed the Beethoven cycle from 2008 to 2010 in New York, Washington, Tokyo, London, Paris, and Vienna. Till Fellner has premiered works by Kit Armstrong, Harrison Birtwistle, Thomas Larcher, Alexander Stankovski and Hans Zender. The ECM label, for whom Till Fellner is an exclusive recording artist, has released the First Book of the Well-Tempered Clavier and the Two & Three-Part Inventions of J. S. Bach, Beethoven’s Piano Concertos Nos. 4 & 5 with the Montreal Symphony Orchestra and Kent Nagano, chamber music by Harrison Birtwistle and in 2018 a CD “Till Fellner in concert” with live recordings of works by Liszt and Beethoven. In 2016 Alpha Classics released the recording of the piano quintet by J. Brahms with the Belcea Quartet, this recording received the “Diapason d’Or de l’Année”. In his native Vienna, Till Fellner studied with Helene Sedo-Stadler before going on to study privately with Alfred Brendel, Meira Farkas, Oleg Maisenberg, and Claus-Christian Schuster.
He has taught at the Zurich Hochschule der Künste since 2013. In 2019 he was jury president at the 62nd Ferruccio Busoni International Piano Competition in Bolzano.
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.