Bach's Lunch Concert - Pianist Bruce Griffin in all-Beethoven Recital

The next Bach’s Lunch concert at the Episcopal Church of Saints James and Andrew, located at the corner of Federal and Church Streets, Greenfield, will take place on Wednesday, May 7 at 12:15 p.m. Pianist Bruce Griffin will perform an all-Beethoven program consisting of Beethoven’s piano sonata no. 5 in C minor (opus 10, no. 1), Andante Favori in F major, and Beethoven’s 32nd and final piano sonata in C minor (opus 111). The concert is free. Audience members are invited to bring their own lunch to eat during the concert.

A native of Vermont, Bruce Griffin received his formal musical training at the Peabody Conservatory of Music studying with Walter Hautzig and Leon Fleisher. In 1985, Mr. Griffin gave his New York debut at Carnegie Recital Hall. Bernard Holland of the New York Times described Mr. Griffin as “serious and imaginative”, a pianist of “unusual warmth and virtuosity” who exhibited an “exceptional feel for melody’s magnetic pull”. Mr. Griffin has appeared in solo recitals and chamber music programs throughout the country as well as soloist with the Vermont Symphony and Tacoma Symphony Orchestras. Mr. Griffin is a member of the Leschetizky Association in New York and has been a member of the Brattleboro Music Center piano faculty since 1990.

Notes by Bruce Griffin:

This program represents Beethoven’s three creative periods, tracing his evolution as a composer.

*Sonata No. 5 in C minor, Op. 10, No. 1 (1796–98)* Often called the “Little Pathétique,” this early sonata foreshadows the famous Pathétique Sonata (Op. 13). The final movement, with its nervous energy and relentless momentum, offersa striking prelude to the rhythmic drive of Beethoven’s Fifth Symphony.

*Andante Favori (1803–04)* Originally intended as the second movement of the Waldstein Sonata, Op. 53, the Andante Favori was set aside at a friend’s suggestion that the sonata was too long. Beethoven later published it separately, and it became one of his most beloved piano works. His student Carl Czerny recalled that Beethoven played it frequently in society, earning it the title “Favored Andante.” Some speculate that it was composed as a musical expression of love for Countess Josephine Brunsvik, though their relationship was ultimately constrained by social class.

*Sonata No. 32 in C minor, Op. 111 (1821–22)* Beethoven’s final piano sonata stands as a testament to his late style—bold, introspective, and transcendent. The first movement, full of dramatic intensity, gives way to the second and final movement, an Arietta with variations that unfolds into otherworldly serenity. Thomas Mann famously called it “a farewell to the sonata form.” Though not widely performed until the late 19th century, Op. 111 is now regarded as one of Beethoven’s most profound creations, pushing the boundaries of both piano writing and musical expression.

A Personal Reflection: In assembling this program, I recognized how deeply Beethoven’s influence has shaped my own musical journey. At 12, I was introduced to the Adamant Music School in Adamant, Vermont, founded by Dr. Edwine Behre, a student of Theodor Leschetizky—who in turn studied with Beethoven’s own pupil, Carl Czerny. Later, at the Peabody Conservatory, my teachers Walter Hautzig and Leon Fleisher were both students of Artur Schnabel, who was also a student of Leschetizky. Through these connections, Beethoven’s music has remained a guiding force in my life, making this program especially meaningful to me.