Although Craig Sheppard has taught all of Beethoven’s piano sonatas, he has not actually performed every one of them. Until now.

In seven concerts over 16 months, Sheppard, professor of piano in the School of Music, will present all 32 sonatas in chronological order. It’s a bold project, and one that Sheppard relishes.

“There is a certain unpredictability about Beethoven that appeals to me,” says Sheppard. “He went through a number of transformations in his lifetime, and the sonatas mirror this process faithfully. That’s why it is important to present them chronologically.”

	Craig Sheppard. Photo by Cynthia St. Clair.

The sonata, explains Sheppard, is a musical form that grew out of the Baroque dance suite. Composers were looking for a form through which they could develop several musical ideas and then combine them. “The sonata does this through a tripartite form with a coda at the end,”
says Sheppard. “The major ideas are presented in the first section and then interwoven in interesting ways in the middle section. They are brought up again in the third section and tied up in a bow in the coda.” Beethoven was particularly adept at this form, says Sheppard, because he was a “master architect” when it came to structuring a composition.

While Beethoven’s sonatas evolved over his lifetime, some elements can be heard throughout. Sheppard points to the composer’s use of silence, which is mostly associated with his later works. “Silence is an important part of his structure, particularly in slow movements, throughout his career,” says Sheppard. “That was true even before his own silence—his deafness—began.”

Yet there are distinct periods in Beethoven’s work, which will present challenges for Sheppard. “Some of the blockbusters—in terms of length and popularity—come right in a row,” he says. For that reason, “one concert will be really tough from a physical standpoint and another will be tough from an emotional standpoint.”

All of the concerts will be held in Meany Hall for the Performing Arts. If response from the first two is any indication, seats will fill quickly.

“This was a recital that was hewn out of rock and fire and the unadulterated power of Beethoven,” wrote Seattle Times music critic Melinda Bargreen after the first concert. “…This was a recital that would have done credit to Carnegie Hall, right in our own backyard.”

The audience agreed, offering a standing ovation followed by effusive notes and emails. One listener recalled a concert by virtuoso Jascha Heifetz in 1956 that was “one of the paramount experiences” in his life. He continued, “Last night you topped Jascha… You were absolutely superb. The match between your fingers and mind is an astounding gift. We plan on being profoundly entertained [at future concerts]. Thank you for a most memorable evening.”

Sheppard’s third concert in the series is scheduled for May 21 at 7:30 p.m., followed by concerts on October 13, January 6, 2004 and March 16, 2004. The final concert is still to be scheduled. For information, call 206-543-4880.

[Winter/Spring 2003 - Table of Contents]