Einav Yarden - Oscillations '2013

Tracks list

Tracklist

01. Sonata No. 10 in G Major, Op. 14, No. 2 I. Allegro
02. Sonata No. 10 in G Major, Op. 14, No. 2 II. Andante
03. Sonata No. 10 in G Major, Op. 14, No. 2 Scherzo III. Allegro assai
04. Sonata for piano I. Quarter note = 112
05. Sonata for piano II. Adagietto
06. Sonata for piano III. Quarter note = 112
07. Sonata No. 6 in F Major, Op. 10, No. 2 I. Allegro
08. Sonata No. 6 in F Major, Op. 10, No. 2 II. Allegretto
09. Sonata No. 6 in F Major, Op. 10, No. 2 III. Presto
10. Polka
11. Valse
12. Le Cinq Doits I. Moderato
13. Le Cinq Doits II. Larghetto
14. Valse pour les Enfants
15. Piano-Rag Music
16. Tango
17. Eleven Bagatelles, Op. 119, No. 1 in G Minor Allegretto
18. Eleven Bagatelles, Op. 119, No. 2 in C Major Andante con moto
19. Eleven Bagatelles, Op. 119, No. 3 in D Major A l’Allemande
20. Eleven Bagatelles, Op. 119, No. 4 in A Major Andante cantabile
21. Eleven Bagatelles, Op. 119, No. 5 in C Minor Risoluto
22. Eleven Bagatelles, Op. 119, No. 6 in G Major Andante – Allegretto
23. Eleven Bagatelles, Op. 119, No. 7 in C Major Allegro, ma non troppo
24. Eleven Bagatelles, Op. 119, No. 8 in C Major Moderato cantabile
25. Eleven Bagatelles, Op. 119, No. 9 in A Minor Vivace moderato
26. Eleven Bagatelles, Op. 119, No. 10 in A Major Allegramente
27. Eleven Bagatelles, Op. 119, No. 11 in B Flat Major Andante, ma non troppo

The premise here is the odd pairing of piano music by Beethoven and Stravinsky,
one of the few composers to go on record as saying he actively disliked
Beethoven's music. The piano, moreover, was central to Beethoven's output and
peripheral in Stravinsky's. Israeli pianist Einav Yarden faces a tall order in
her "oscillations" between what seem like two musical poles, and the appeal of
the program is that, despite the title, she makes the pieces involved seem
reasonably closely related to each other. There are several steps to this,
beginning with the selection of material. The Beethoven sonatas and especially
the Bagatelles, Op. 119, at the end of the program might be said to represent
Beethoven at his most "Stravinskian," with a dry, witty tone, structures built
on precise manipulations of humorous ideas, and a lack of drama and strongly
directional motion. Yarden goes on to apply a common style to all of the music,
one that pushes Beethoven forward and Stravinsky backward into the Romantic era.
She uses lots of pedal and turns all the music into something resembling a
Schumann character piece, something that works well enough again in the
Beethoven bagatelles and in the large number of short Stravinsky pieces
included. The interpretations are unusual enough on their own to be worth
hearing, but the connections they draw, roughly summed up by the statement that
Romantic ideas are applicable to both Beethoven and Stravinsky, are equally
original. An offbeat program that really works.

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