Article in French.
The profession of musicologist is fascinating. It often opens the door to new and unknown elements, even when studying the life and work of composers who left us many years ago. Their music makes them present, and sometimes with an intimacy that we only get an idea of by diving into their past. This is what I feel every year, when the university period is put on hold to make way for research trips. When summer comes, I travel on the roads of Europe in the footsteps of Ludwig van Beethoven and Franz Liszt. This research period also allows me to exchange with other specialists. For example, in 2021, I was in contact with Robin Wallace, author of “Hearing Beethoven”. He had recommended that I contact Tom Beghin, whom he mentions in his book, to talk about one of my research topics: musicians with deafness and instruments vibrations. Beghin is a pianist and researcher specializing in historical pianos. In 2020, his article “Deafly Performing Beethoven’s Last Three Piano Sonatas”, highlighted the years of composition of the three sonatas and the stratagems borrowed by the composer to get the most out of his pianos. This article is about our encounter and my experience with Beethoven’s last piano, the Broadwood.
Discover the full article in “Beethoven,” the Journal of the Association Beethoven France et Francophonie: https://www.beethoven-france.org/2023/02/17/sommaire-de-la-revue-n23-premier-semestre-2023-110-pages/
Link to the article on ResearchGate (full article available upon request):
https://www.researchgate.net/publication/368636599_Le_resonateur_de_piano_de_Beethoven_une_autre_experience_du_piano_Broadwood_-_Beethoven_revue_de_l’Association_Beethoven_France_No_23_2023
