Schubert – Sonata in A, D. 959 (op. posth.) Eunice Norton, piano (Peacham, 1980)

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Schubert – Sonata in A, D. 959 (op. posth.) Eunice Norton, piano (Peacham, 1980)

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Schubert
Sonata in A Major, D. 959 (op. posth.)

1. Allegro (0:00)
2. Andantino (11:09)
3. Scherzo: Allegro vivace – Trio: Un poco più lento (19:08)
4. Rondo: Allegretto – Presto (24:08)

Eunice Norton, piano
1980 Peacham Festival, Vermont

(Essay continued from: https://www.youtube.com/watch?v=Y2eDvT-Y9sY)

One summer in Peacham, in her beautiful old house with the floor-to-ceiling antique windows in the living room that turned on their center posts to be opened, and with groups of students and friends overflowing onto the porch, listening intently, Eunice decided to present an evening of Bach. She wanted to immerse her listeners in his music and milieu, and the evening’s storm cooperated by dousing the electricity. Candles were lit and the magic unfolded.

Artists are made for these moments. Music conceived before the clamor of engines benefitted from Peacham’s spell that evening. Every person in attendance that evening returned the following summer, the year Eunice decided to focus on Beethoven, presenting lessons and monstrous concerts of dozens of his sonatas and other works.

By then, the townspeople, especially those who had pianos, had become engaged in housing the overflow of students. The evening concerts now had to be held at the town’s church. (The proceeds were even donated in order to renovate the regal, historic clapboard structure.) In this manner, the following five years presented a musical focus every summer for the entire area.

Word got around; audiences grew. It was never anything as ambitious or as commercial as the neighboring Marlboro Festival in the much larger ski resort town of Stowe, Vermont. But there were people who travelled to Peacham on short notice from as far as the west coast when Eunice played the Diabelli Variations at the end of the 1977 Festival. Of course, being a country setting, there were odd things that occurred, thanks to nature. It was often hot in the summer there despite the northern locale, and the church had no air conditioning. Its grand, paned windows were unloosed, making an open-air event that also became an open-animal event. Eunice’s atmospheric performance of Chopin’s Funeral March Sonata in 1979 was interrupted at the quietest moment in the slow movement by a squirrel dropping nut shells onto the piano strings (apparent in the recording of the concert). Another year a moth landed right on a hammer used frequently by a piece that then “limped” to the end as a result. And there’s the story which Eunice’s page turner tells about the time she played a hand-crossing Schubert piece, only to have a large leggy insect land right on her hand, prompting a silently mouthed “get it off!” while facing away from the audience. He attests that neither the incident nor her grateful smile afterwards interrupted the performance.

And then there was the time Rudolf Serkin – the founder of the Marlboro Festival – invited Eunice to play the Goldberg Variations. She must have been pleased by the invitation, for she and Serkin had shared good and bad times together over the years. They sparred kindly and occasionally unkindly about things such as Beethoven’s metronome markings for the Hammerklavier (he thought she was foolish for using them), and playing transcriptions of Bach’s music instead of the original versions (she thought they were not up to snuff). He had already played the Goldberg Variations once or twice. Unsurprisingly, they had a spirited disagreement over them, but their camaraderie usually won out. A few concerts showed their talents together, such as when they played a Schnabel memorial evening at Lincoln Center.

The day of the Marlboro Goldbergs coincided with the visit of a group of Eunice’s students. Imagine their surprise as they headed out for the hour-long journey from Peacham to Stowe, only to see Eunice speeding back in the other direction, heading towards home in the little red convertible she drove everywhere. Later when everyone commiserated, Eunice admitted that she angrily stormed away from the venue after learning that Serkin had placed her performance of the Goldbergs at the end of a long list of diverse, plainly incongruous music programming. When she confronted Serkin about his plan, he said, “My dear Eunice, I have played the Goldberg Variations as an encore!”

(Continued here: https://www.youtube.com/watch?v=52c-HrE5UNI)

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Keyboard (Musical Instrument), Piano (Musical Instrument), Classical Music (Musical Genre), Franz Schubert, Eunice Norton (Musical Artist), Myra Hess (Musical Artist), Tobias Matthay (Composer), Artur Schnabel (Musical Artist),

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