KORI BARKLEY
Staff Writer
Sunday night marked an outstanding “homecoming” piano recital presented by Father Sean Duggan, professor of piano at the School of Music.
For his first performance in Fredonia since his leave of absence last year, Father Duggan played from memory what are considered two of the greatest works in piano literature: Ludwig van Beethoven’s monumental “Piano Sonata No. 29 in B-flat, Op. 106” (commonly referred to as the “Hammerklavier Sonata”) and thirty-three “Variations on a Waltz by Diabelli, Op. 120.”
Though the weather was dreadful, Father Duggan’s representation of “Sonata No. 29” captivated the audience in delight and admiration.
With its tonal shading, attention to dynamics and beautiful lyricism, the Hammerklavier clearly signifies an outpouring of Beethoven’s musical and personal thoughts. It challenged the height of Beethoven’s powers as an extremely complex piano work that far surpassed anything previously written for piano in its size, scope and sheer difficulty; it is often described as the “the Himalayan Op. 106,” “the Empire State Building of Beethoven’s sonatas,” or “the pianist’s Mount Everest,” as it was widely regarded as unplayable upon publication.
Father Duggan proved that notion unfitting with a rendition that spoke volumes.
Despite its complexity, it was apparent Father Duggan was still “excited by its rhythmic vitality, moved by its lyricism and anguish, exhilarated by its sense of triumph over struggle and even delighted by its sense of humor,” as he described. He showcased his masterful skill by executing each emotion so captivatingly through expressive, intricate detail that imparted a gravity to the piece.
Beethoven’s set of “Thirty-three Variations on a Waltz” by Diabelli is considered one of the greatest sets of variations, apart from J.S. Bach’s Goldberg Variations.
Beethoven dissected every motive, phrase structure, intervallic pattern, harmonic progression and sequence of Diabelli’s “cobbler’s patch” of a waltz to turn it into an increasingly bold and remarkably imaginative set of variations, resembling the nature of character pieces.
Heavy and dark, cantabile, solemn, light and comical, animated. Father Duggan expressed the many different personalities of the variations with a spirited enthusiasm, contrasting the dynamic colors, textures and techniques.
While the Diabelli Variations by no means lacked in gusto, it could be noted that Father Duggan was more comfortable performing this second piece.
“I’ve played the Diabelli Variations for a number of years but I’ve never performed them in Fredonia,” Father Duggan said. “So I thought combining both of Beethoven’s biggest works would be an interesting adventure. Luckily I could probably play the Diabelli Variations in my sleep because most of my energy had to go into the Hammerklavier.”
Father Duggan’s ability to memorize two hours of treacherously difficult and rarely performed piano literature was remarkable, to say the least.
After receiving two separate standing ovations and cheers from the audience four times, Father Duggan concluded the evening with a passionate encore of Beethoven’s ever-beautiful “Moonlight Sonata.
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“I’m so grateful to have [Father Duggan] as my teacher,” pianist Jake DeGarie said. “Every performance of his is incredible and inspiring, and tonight was no exception.”