As with all innovators, it's always difficult to tell if they are still within the relevant tradition within which they work which they have brought to perhaps its peak so that there's very little else they can do within it any more except to break through to a new mode. So in a sense, one could say Beethoven was still working within the so-called "classical" model when he still stuck to the 4-movement structure of fast sonata, slow sonata, minuet, fast sonata of the traditional symphony. But Beethoven had to put his personal stamp on to this traditional form. He put in a Scherzo instead of a minuet in the third movement. No wonder the programme note quoted the musical historian Gerard Abraham that it was with the Eroica that Beethoven "set a new standard of musical logic, of symphonic thought...its suggestion of an implied emotional programme."
To play the piano for us in the concerto was one of my favourite pianists, the very talented Yuja Wang, who displayed not only consummate skill with her fingers, but exuded a remarkable sensitivity to the nuances of the moods of the young Mozart and who poured her heart into the music, something which made the soul of Mozart come alive for us. As expected, the applauses were thunderous. She appeared touched and rewarded us with two pieces which showcase her technical brilliance and the versatility of her complex musical personality, first a variation of a quite familiar theme in Bizet's Carmen and then a jazzed up version one of one familiar piano pieces whose name I have forgotten perhaps the Turkish March(?) in the manner of a Franz Litzst who converted all of Beethoven's 9 symphonies into the form of piano compositions which of course, he played. I don't expect I'll be disappointed in the two other concerts by her which I already booked for next week. .