Schubert – Sonata in c, D. 958 (op. posth.) – Eunice Norton, piano (Peacham, 1980)

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Schubert – Sonata in c, D. 958 (op. posth.) – Eunice Norton, piano (Peacham, 1980)

Nội dung video Schubert – Sonata in c, D. 958 (op. posth.) – Eunice Norton, piano (Peacham, 1980) 

Schubert – Sonata in c minor, D. 958 (op. posth.)

1. Allegro (0:00)
2. Adagio (7:46)
3. Minuetto: Allegro – Trio (15:28)
4. Allegro (Tarantella) (18:07)

Eunice Norton, piano
1980 Peacham Festival, Vermont

Photo: Scene from Peacham, Vermont, and the historic church where the festivals were conducted.

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

Perhaps it is fitting that Norton ended her days at the old age of 97 in Vienna, the old world city that was home to most of her favorite composers. Her last public concert officially occurred in 1992 in a performance organized as memorial of the 200th anniversary of Mozart’s death. She played a group of his works in Pittsburgh’s Stephen Foster Hall that ended with a rousing, impossibly fresh performance of the Sonata alla Turca (K331), one that I suspect few who heard it could ever have believed it was possible to get that much music from those familiar old notes.

But, there was also one last public tribute performance to the passing of her Vermont friend, Wilbur Eastman, the gentleman who helped organize the Peacham festivals over the years. It was presented at the old town church, and Eunice played one work, Beethoven’s Sonata in A-flat, op. 26 — the one with the funeral march in the middle. Those who heard the performance said it revealed striking new insights involving the unlikely transition Beethoven makes to a pressingly happy mood for the final movement, immediately following the somber march. And even though she went on with her work making as many recordings as possible before her time to fascinate and enrich our musical world was over, I suspect Eunice–with all her artistic fascination with things immortal and lasting–would be quite pleased to know that her official final appearance as a performer made a case for the mysterious hope and energy that awaits right after the sound of the last note of the funeral march fades away. (End)

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