Piano sonata

One thing, um, there's this really long trill in the piano.

[orchestral music] And it reminds me of the super long trill in Beethoven's 32nd Piano Sonata, which just goes on and on, hanging out in the air, and that's what I feel like is also happening here.

So there's just so many little things to, um, grab onto.

[orchestral music] And Schulz writes, "Peppermint Patty is a natural athlete and the manager of her own baseball team.

So we're coming up on finishing four full years.

I have talked a lot about the Piano Sonata by Samuel Barber, and how that was my personal stretch piece, and I've gone over many of the reasons why.

It's not because the types of scales and arpeggio patterns are any more difficult than anything else I've played.

Part of it is that I like to memorize all of the music as I'm learning it, and the harmonic and melodic language of this piece is very counterintuitive.

They weren't things that I was starting from scratch.

But I said, no, I'm going to make this a featured piece.

This piano sonata by Samuel Barber is going to be my featured piece of this February recital.

Now, the first reason I picked February is it's going to be at my church and I want it to be between Christmas and before we get into the Easter season.

I spoke to him earlier today here in Studio 8.

He started by playing an excerpt from the second movement of Beethoven's Piano Sonata No. 13 in E-flat Major.

Thank you.

Thank you.

Thank you.

Thank you.

And that's part of the last movement of Bella Bartok's piano sonata, played by Carter Johnson.

Sound supervision on that session was by Mark Dwyer.