Volume VII of the A Tempo project approaches the subject of tempo from a new angle. Following in the footsteps of the great Beethoven interpreter Franz Liszt, Bernhard Ruchti presents three piano sonatas by Beethoven, inspired by instructions given by Liszt in his master classes in Weimar in the 1880s. These master classes are richly documented. It is fascinating to join Liszt’s circle of students, as it were, through the eyes and ears of contemporary witnesses! The interpretation follows neither a metronome marking nor a documented duration, but takes purely musical aspects into account.

Bernhard Ruchti plays on an original Érard concert grand piano from 1839.

• Ludwig van Beethoven: Grande Sonate Pathétique in C minor Opus 13
• Ludwig van Beethoven: Piano Sonata in C sharp minor Opus 27 No. 2 "Moonlight"
• Ludwig van Beethoven: Piano Sonata in E minor Opus 90
• German and English introductions
• Bonus: Frédéric Chopin: Nocturne in G minor Op. 37 No. 1

Apple Music
Spotify
Order in Switzerland
Internationale Bestellung / International Order
Signiertes Exemplar / Signed Copy

Ludwig van Beethoven’s “Hammerklavier Sonata” in B-flat major, Opus 106, is one of the core works regarding tempo research. Its original metronome markings were questioned already in the 19th century. It is all the more significant that one of the most authoritative Beethoven interpreters of the 19th century, Franz Liszt, indicated the duration of the Sonata in a private letter: “presqu’une heure” – almost an hour. This duration – together with in-depth research on historical editions of the work – is the basis and inspiration of Bernhard’s interpretation.

• Ludwig van Beethoven: Grosse Sonate für das Hammerklavier op. 106
• German and English introductions
• Bonus: Ludwig van Beethoven: "Für Elise" in two interpretations

iTunes
Spotify
Order in Switzerland
Internationale Bestellung / International Order
Signiertes Exemplar / Signed Copy

For the first time within the A Tempo project I play and talk about the music of Franz Schubert. Unlike Beethoven or Chopin, Schubert is not a composer who is often discussed in terms of tempo. There are hardly any metronome markings for his works. In addition, there is not much precise information about the way he played his own works. Nevertheless, his music is predestined to be looked at with a special focus on tempo.

The Piano Sonata in C minor D958 is one of Schubert's last piano works. The piece is like a symphony: dramatic, grand and profound. For my interpretation, I chose an unconventional approach: I explored the question of what tempo the piece would have - if it were a song. I talk about the background and the surprising result in my introductions.

The recording venue is the Cuvilliés Theater in the Munich Residence: a magnificent Rococo theatre that matches perfectly with Schubert's imaginative Piano Sonata.

For the first time within the A Tempo project I play and talk about the music of Franz Schubert. Unlike Beethoven or Chopin, Schubert is not a composer who is often discussed in terms of tempo. There are hardly any metronome markings for his works. In addition, there is not much precise information about the way he played his own works. Nevertheless, his music is predestined to be looked at with a special focus on tempo.

The Piano Sonata in C minor D958 is one of Schubert’s last piano works. The piece is like a symphony: dramatic, grand and profound. For my interpretation, I chose an unconventional approach: I explored the question of what tempo the piece would have – if it were a song. I talk about the background and the surprising result in my introductions.

The recording venue is the Cuvilliés Theater in the Munich Residence: a magnificent Rococo theatre that matches perfectly with Schubert’s imaginative Piano Sonata.

An innovative new organ is being built in the St. Laurenzen city church in St. Gallen (Switzerland). In addition to the existing organ from 1978, three new pipe divisions are being built on the three galleries of the church. The new divisions represent the three main families of pipes that each organ has: diapasons (west gallery), flutes (south gallery) and strings (north gallery). These will be combined with the existing organ to form an instrument that will fill the entire church space with sound.

Many names for the instrument have been found in the media: Surround organ, 3D organ, quadraphonic organ.... However, the most appropriate name would be "prism organ". The organ will do acoustically what a prism does optically with the light of the sun: it disperses the overall sound into the individual "spectral sounds".

I created that concept seven years ago. Together with the organ builder we developed and consolidated the concept. The collaboration with Orgelbau Goll from Lucerne was and is immensely inspiring and fruitful. Thanks to the help of many people, the necessary funds could be raised. Now the instrument is actually being installed, and preparations for the inauguration in September 2023 are in full swing.

The website www.laurenzen.ch provides information and insight into this unique project (in German).

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An innovative new organ is being built in the St. Laurenzen city church in St. Gallen (Switzerland). In addition to the existing organ from 1978, three new pipe divisions are being built on the three galleries of the church. The new divisions represent the three main families of pipes that each organ has: diapasons (west gallery), flutes (south gallery) and strings (north gallery). These will be combined with the existing organ to form an instrument that will fill the entire church space with sound.

Many names for the instrument have been found in the media: Surround organ, 3D organ, quadraphonic organ…. However, the most appropriate name would be “prism organ”. The organ will do acoustically what a prism does optically with the light of the sun: it disperses the overall sound into the individual “spectral sounds”.

I created that concept seven years ago. Together with the organ builder we developed and consolidated the concept. The collaboration with Orgelbau Goll from Lucerne was and is immensely inspiring and fruitful. Thanks to the help of many people, the necessary funds could be raised. Now the instrument is actually being installed, and preparations for the inauguration in September 2023 are in full swing.

The website www.laurenzen.ch provides information and insight into this unique project (in German).

Follow us on Instagram!

Chopin wrote his Nocturne Op. 37 No. 1 in 1839. In the same year the Érard concert grand piano on which I play it, was built. Instrument and music come together in a unique symbiosis. The piece was one of the first works by Chopin that I learned as a young pianist. To this day, I love the chorale-like middle section with its incomparable atmosphere.

Recorded as an Encore to Beethoven A Tempo III at the La Prairie Cultural Center near Biel (Switzerland).

Chopin wrote his Nocturne Op. 37 No. 1 in 1839. In the same year the Érard concert grand piano on which I play it, was built. Instrument and music come together in a unique symbiosis. The piece was one of the first works by Chopin that I learned as a young pianist. To this day, I love the chorale-like middle section with its incomparable atmosphere.

Recorded as an encore to Beethoven A Tempo III at the La Prairie Cultural Center near Biel (Switzerland).

Volume VII of the A Tempo Project approaches the subject of tempo from a new angle. Following in the footsteps of the great Beethoven interpreter Franz Liszt, I present three Piano Sonatas by Beethoven. My renditions are inspired by instructions that Liszt gave in his masterclasses in Weimar in the 1880s. These masterclasses are well documented. It feels like joining the circle of Liszt's students, as it were, through their very own eyes and ears! The interpretation thus follows neither a metronome number nor a documented duration, but takes purely musical aspects into account.

The center piece of Beethoven A Tempo III is the famous Moonlight Sonata in C-sharp minor. Liszt's rendition of the piece was legendary in the 19th century. His pupil August Stradal hands down an astonishingly accurate account of what Liszt did in the spherical first movement, and also provides valuable information on the interpretation of the two following movements.

The equally famous Grande Sonata Pathétique in C minor is a wonderful example of how general musical aspects gleaned from the lore of Liszt's Beethoven playing, can be applied to an actual interpretation.

Finally, in the Sonata Opus 90, it is a single and seemingly small cue that puts the tempo in a new light. This cue is the trigger for my entire interpretation of the lovely second movement. Learn more on this in my introduction to the recording!

The three sonatas plus the German and English introduction are now published on my YouTube channel.

Playlist on YouTube

Introduction

Volume VII of the A Tempo Project approaches the subject of tempo from a new angle. Following in the footsteps of the great Beethoven interpreter Franz Liszt, I present three Piano Sonatas by Beethoven. My renditions are inspired by instructions that Liszt gave in his masterclasses in Weimar in the 1880s. These masterclasses are well documented. It feels like joining the circle of Liszt’s students, as it were, through their very own eyes and ears! The interpretation thus follows neither a metronome number nor a documented duration, but takes purely musical aspects into account.

The center piece of "Beethoven A Tempo III" is the famous Moonlight Sonata in C-sharp minor. Liszt’s rendition of the piece was legendary in the 19th century. His pupil August Stradal hands down an astonishingly accurate account of what Liszt did in the spherical first movement, and also provides valuable information on the interpretation of the two following movements.

In the Grande Sonata Pathétique in C minor, I am pursuing general musical points of view that I have gleaned from Liszt's Beethoven playing.

In the Sonata Opus 90 , it is a single and seemingly small cue that puts the tempo in a new light. This cue is the trigger for my entire interpretation of the lovely second movement. Learn more on this in my introduction to the recording!

The three sonatas plus the German and English introduction are now published on my YouTube channel.

Link to the playlist on YouTube

Link to the introduction