Beethoven
Piano sonata no.14 in C-sharp minor, op.27 no.2 ‘Moonlight’
Piano sonata no.28 in A major, op.101
Interval
Piano sonata no.6 in F major, op.10 no.2
Piano sonata no.32 in C minor, op.111

Mishka Rushdie Momen studied with Dame Imogen Cooper in London and with Sir András Schiff at Kronberg Academy. She has appeared across the USA and Europe, her last season’s recitals including Wigmore Hall, Aldeburgh Festival and the Re-opening Festival of New York’s Frick Collection.

Tonight, her programme focuses on Beethoven’s piano sonatas, from one of the earliest to the very last. She starts in the chronological middle with the lovely ‘Moonlight’ sonata. Its catchy name was added later: Beethoven himself subtitled the sonata ‘Quasi una fantasia’ and it is a kind of fantasy, opening with a blissfully dreamy adagio, much used by film directors.

By the time Beethoven composed Piano Sonata no.32, he was totally deaf and cut off from the world, his work correspondingly freer and more intimate. This is a giant of a piece. In two movements only, it whirls into chaos, touches depths of profundity, has moments of tranquillity and leaves the listener in awe.

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