Wednesday 11 October 2017 8pm


Beethoven Sonata no.14 in C sharp minor, op 27 no. 2 ‘Moonlight’
Beethoven Sonata no. 8 in C minor, op 13 ‘Pathétique’
Brahms Piano Sonata in F minor no. 3, op 5

The charismatic François-Frédéric Guy made his debut in 1999 and immediately established a reputation as one of the most fascinating pianists of his generation. He has performed across the globe with many of the world’s great orchestras. A dedicated recitalist and chamber musician he is widely regarded as a specialist in the German Romantics and above all of Beethoven, whom he describes as ‘the Alpha and Omega of music’.

For his Ilkley debut he has chosen two of Beethoven’s most famous sonatas – the ever popular 14th from 1801/2, which didn’t acquire the title ‘Moonlight’ until 1832, and the earlier and more tragic sounding 8th (1799) which Beethoven was happy to have his publisher name as a Grande sonate pathétique.

The programme concludes with Brahms third sonata – a fusion of romantic spirit in classical architecture – perhaps the greatest since Beethoven. It was written in 1853 by the 20-year old who that same year Schumann would proclaim ‘fated to give expression to the times in the highest and most ideal manner’.

Rigorous thought, precise ideas, a sense of buildup, mastering the richness of sound and the melody – he often approaches perfection.


Guy Brought something special to the twilight opening movement of the Moonlight Sonata.

Bachtrack 2014


Club members gave a tumultuous welcome to the French pianist, François-Frédéric Guy, when he opened the 72nd season at the Kings Hall last Wednesday with a programme of sonatas by Beethoven and Brahms.

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The first half was devoted to the two most well-known of Beethoven’s sonatas – the ‘Moonlight’ and the ‘Pathétique’. It is hard to play these famous pieces well but here we heard performances that were completely individual, undoubtedly virtuousic and clearly rooted in a deeply-felt relationship with the score and the instrument. So absorbed was Guy with recreating Beethoven’s music that he looked almost dazed when torn away from the piano to acknowledge the applause.
I felt sometimes that the tempi chosen were too fast to allow the music to be heard clearly: in the last movement of the ‘Moonlight’ I found the running semiquavers too rushed. For me there was also not enough singing tone in the Adagio cantabile of the ‘Pathétique’. I prefer a more classical approach to these sonatas but there is a good argument for trying to recreate the ‘shock of the new’ which the first listeners would have experienced in Beethoven by a wilder, more romantic pianism.

However, all such doubts were blown away by the performance of Brahms’ F minor Piano Sonata in the second half! This is a work in which the 20 year-old Brahms was laying claim to the mantle of Beethoven, a work with almost too many musical ideas for its own good. The outer movements were given all the fire they needed, their disparate elements forged into a coherent whole. The three central movements displayed wonderful tenderness, with Guy bringing out a wealth of colour, particularly in the pianissimos. It was a complete performance and the audience acknowledged it with lengthy and generous applause, to which Guy responded with equal generosity in his encores – a shimmering account of the Brahms Intermezzo Op 119 no. 1 matched with a crisply articulated performance of Beethoven’s ‘Für Elise’.

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