111 represents a process of deliberate frustration, the “whole movement [being] one unconsummated gesture after another.” Contrarily, the second movement, which is twice as long as the first, “reaches a point of status or suspended motion…,” that is, to the point of being immeasurable, the increasing smaller note values at last dissolving into the “unmeasured trill — a kind of aural vanishing point, in which all sense of countable time is lost … ; moreover, its most arresting effect comes in mm. 7, while Sonata No. The final attempt to escape this doom fails, and leads instead into an explosive frenzy of a coda, crashing upon us with almost no build-up. He has known despair beyond any doubt, evident in his writing and some of his music. This week I’m in the UK, playing Shostakovich and Dvorak with the PHQ, Rachmaninov 2 with the Halle, studying and filming new Beethoven sonatas, the whirlwind goes on – but I’d love to stop time for five minutes, and talk about the concerti. His notation is anyway perfectly comprehensible, and no modern time signature is capable of indicating a bar consisting of three beats each of which divides into four sub-beats which in turn divide into three. The very beginning of the first movement is pulsation made melodic, brimming with barely contained energy – the long row of repeated notes seemingly straining against the imposed metre, only content once they arrive at the short melodic figure in bar three. Beethoven never hides his interest in the motifs he develops, and here, too, it is made obvious in the last third of the movement, as the motif is stubbornly repeated, building up to a climax, and then descending, gradually calming down before the seamless transition into the finale. 7, while Sonata No. Beethoven takes the closing chords of the first movement and puts them above a stormy whirlwind of sound, at times furious, at times impassioned, at times haunted and driven. In short, it’s the antithesis of everything Beethoven created in the sonata so far. As 9 of these 13 sonatas were completely new to me, those two weeks in Sacile, Italy (home of the Fazioli pianos) ended up being more intensely challenging than anything I've done in the last years. 26 'March Funebre' Beethoven: Piano Sonata No. 111: II. 2. Its four movements, performed without a break, show the ease of transition we might expect from an improvisation, or free associative thinking – or a dream. 13’s light. times with nearly manic insistence in a wildly modulatory section (5:29). I will end with a technical announcement – I’m very happy to say that the complete cycle will be available on Apple Music, simultaneously with the YouTube releases. I am not so sure; different things, undoubtedly. It was extra special that this project took place precisely in Brussels. 54 ends with an exuberant celebration in F major, joyful and triumphant. He then published the grand Andante in F major, in 3/8 time, on its own, and later composed the interesting Introduction to the rondo, that is now found in it.’ The Andante favori is utterly beautiful on its own, but the Sonata is certainly better served by the stark, almost austere Introduction, setting up this most inspired of Rondo finales. 111, is the last of Ludwig van Beethoven's piano sonatas.The work was written between 1821 and 1822. Things crumbled swiftly afterwards – the remaining tour dates got canceled in quick succession, and so were all other performances for at least six weeks. 10, and before the Pathétique. Good-natured humour is abundant, as is virtuosity – sparkling and polished in the first movement, pointed and even biting in the Scherzo, and blindingly blazing in the tarantella finale (18:29; the blaze is explicitly requested by Beethoven – the tempo marking for the finale is Presto con fuoco – ‘Presto with Fire’). But its very explicitness, unnuanced and direct, seems a jarring contrast to the complexity of feeling in the main body of the march. By the 'Grande' designation, Beethoven wanted to single it out as a special work, which didn't need other sonatas to be published as an opus. As a separate element, Beethoven enjoys playing with shifting bar lines, right from the beginning. The very first bars are seemingly written in two, until the third bar establishes the real meter – in three. The (very prosaic!) And adds that this sonata is “one of the wonders of mankind.” It moves, and moves one, in a kind of exaltation, to borrow the word from Anton Kuerti. These are not strictly correct by modern rules, since the former implies two groups of three semiquavers and the latter four groups of three demisemiquavers, but these conventions were not established in Beethoven’s day. 19, Op 49, No. Something slightly different – a few weeks ago I was approached by Stephen Malinowski, who makes brilliant animations of classical music scores. Dynamics vary wildly, from the pianissimo of the broken chords to the stormy rage of the fortissimo tremolos in the development. 4, Op. Its easy charm is lovingly explored by Beethoven – the movement is full of imaginative sonorities (the shimmering accompaniment to the melody at 20:23 is a highlight), interesting harmonies (for example the descending chromaticism at 22:08), and a natural, easy to follow (and easy to like) narrative. And whatever the case, he fully compensates for it in the coda, in which the pain is transformed into acceptance and solace. In the coming weeks I will release sonatas Nos. 13 which adheres more closely to this ideal. The musical development from Beethoven’s earlier sonatas is harder to pinpoint. A friend of Beethoven’s expressed his opinion that the Bach: Book 1 – Trinity I-VII, On the Cantatas of J.S. Bach, Christmas Oratorio BWV 248-VI, at Epiphany – God Incarnate as Christ, J.S. 1. The rondo finale contrasts a wonderfully flowing refrain with more ebullient episodes as well as a highly dramatic middle section. In Beethoven’s later work, “the subjective and the conventional assumed a new relationship, conditioned by death.” Mann places great emphasis on the introduction of the C sharp in the transitional interlude between the fourth and fifth variations, as the interlude moves into E flat major until the start of the fifth variation. A development would upset this idyllic world, and Beethoven reduces it to a single chord (9:21) linking back to the reprise. And with this intensity of feeling, comes an overwhelming desire to share. repeated notes in its theme (11:16) are like Chekhov's proverbial gun, which fires towards the end of the movement, at 14:14, when the left hand, which has obviously had enough, goes amok and hammers out a long string of repeated octaves in fortissimo. Adam has studied with Alfred Brendel, Sir András Schiff, Leon Fleisher, and Murray Perahia, all Beethoven specialists. It’s this combination of objective and subjective, perfectly balanced, which makes the opening page possibly the most challenging part of the entire sonata. A return to the opening theme, accompanied this time by a flowing middle voice, leads into a short cadenza; the music halts for a brief moment …. However, it is definitely a piece characterised by its sparkle, light-fingered drive and ebullient energy, rather than inventiveness or depth of emotion. Poco Allegretto E Grazioso All seven were completely new for me, and I very excitedly learned the first four in the empty bits of time between concerts in October and November, and even more excitedly learned Nos. Can’t wait to share it all with you. None of those were necessarily new or original, but the sincerity of emotion and the lack of theatricality make the music particularly endearing. There, everything is extreme: the tempo (the indication, prestissimo – the fastest one there can be – a marked contrast to the uncommonly held back Allegretto moderato of the movement proper), the dynamics, the accents, and, not least, the technical difficulty, culminating in an entire section of octave glissandos (24:05), which on modern pianos – their keys much heavier and deeper than those of Beethoven’s keyboards – often require inventive solutions. Both works in that opus are subtitled ‘Sonata quasi una fantasia’ – sonata in the spirit (or manner) of a fantasy. This is also Beethoven’s own magic: to take something as commonplace as a chord used to signal the beginning of a recitativo in opera all throughout the 18th century, and to transform it into a work of art simply by slowing it down and bringing its dynamic down to pianissimo. Maestoso - Allegro Con Brio Ed Appassionato 2. 7, 22, 26 and 28). Prolonged, but without an implied narrative or strong atmosphere (its C major can at times even seem bland). ), This year I will be intensely living through Beethoven’s 32 sonatas. Interestingly, it is the less famous, unnicknamed Sonata No. The middle section wouldn’t be out of place in Schumann’s Davidsbündlertänze, juxtaposing two syncopated gallops, the first fiery in spirit and a bit steely in sound, the second light-footed and questioning. He watched a few of the Beethoven 32 videos and offered to collaborate on some of the Beethoven scores we were filming. 49, No. It abounds in diminished seventhchords, as in for instance the first full bar of its opening introduction: The final movement, in C major, is a set of variations on a 16-bar theme, with a brief modulating interlude and final coda. Only towards the end (from 5:25) do darkness and passion prevail. The dynamics are sharply contrasting, the tempo is very fast, and special effects (like the timpani tremolo imitation at 1:38) add to the turbulent, unsettling atmosphere. To balance it, an even more virtuoso coda finishes the movement. An unforgettable week, to be honest. In this core idea, it is surprisingly similar to the finale of the Appassionata; also in the unexpected repeat of the second half of both movements. Instead, they are much earlier works. Thus the Theme and Variation 1 contain bars of 3 x 3; in Variation 2 it is 3 x 2 x 3; in Variation 3 it is 3 x 2 x 2 x 3; and from Variation 4 it is 3 x 3 x 3.” The Association’s complete commentary can be read here. 2 ‘Moonlight' Beethoven: Piano Sonata No. Beethoven loved this movement, and it was performed at his own funeral in his orchestrated version. Ludwig van Beethoven's Piano Sonata No. 11 was a closing, summarising chapter of Beethoven’s early sonatas, then Sonata No. 2), a ‘grand piano concerto’ (No. The standout movement, for me, is the second one (7:46). 4 felt surprisingly close to the 5th piano concerto in its richness and breadth, though a lot more driven and quirky in the first movement). 1 is likely to date from 1797 or early 1798, around the time of composition of the Sonatas, Op. Whatever the case, both sonatas are certainly not unworthy of Beethoven’s name. Read about Piano Sonata No. 4, during which I experienced something which until now I’ve only felt while playing Russian music: a kind of floating, when your brain disengages or splits in two. It's tremendously fun to play. Beethoven wrote the sonatas over a period of almost 30 years, with the first three composed in 1795 and the final instalment, Opus 111: Piano Sonata No. 12, Op. The music merrily rolls from there, generating its own incessant energy, wave after wave. ... 29. Rather than a more common unmeasured sweep down or up the keyboard, here the glissando is to be played pianissimo, in strict measure, with both hands, and to make things worse, with a controlled stop in the middle of the line. The first movement asks ‘what if it were okay for the hands not to play together?’ As any first year piano student can attest, normally this would be very bad – clumsiness at best, affectation at worst. The direct and immediate feedback from the audience, the unusual intimacy of the setting and the acuteness of the situation we all share, make for a concert unlike any I’ve experienced. The second movement (8:41) allows us to breathe, its major key a respite from the preceding darkness. Sonata No. I still have two ‘old’ sonatas to share with you – Nos. It is very tempting to talk of watershed moments – perhaps only visible to us in hindsight – but the Waldstein, its every note radiant with inspiration, is surely a landmark in Beethoven’s development, as well as in the development of the sonata genre in Beethoven’s hands. Largo con Gran Espressione 3. The two previous trilogies in Beethoven’s sonata cycle – the three sonatas, Op. Schiff concludes his 32nd lecture with the observation that this sonata exemplifies ‘gratitude to God to be able to write such music.’ That is, being alive allows one to reach beauty and interpret wonder. These are the highest points of my week right now. sonata was too long, whereupon he was frightfully reprimanded by Beethoven. The second movement is the dramatic core of the piece: an unfolding narrative, its opening an early embodiment of 'Innigkeit', this elusive word, part heartfelt, part hushed and awed, part personal and treasured. 22 They are the last three of thirty-two different solutions pro- vided by the composer in this category, which began with the first sketches for his Sonata Op. 49, No. 14…”. Considering the very long delay since their composition, it is probable that Beethoven never intended these ‘two little easy sonatas’ to be published at all. I’m typing these paragraphs, and inside there’s a whole bubbling fountain of other things I’m eager to write about: experiences from the past weeks, thoughts, impressions and questions about each of the first four sonatas, the recent filming session, etc etc. 15 in D major, Op. Two other elements are in play: a hyperventilating motif made of short two-quaver groups, and a tremolo of triplets. 10, and before the Pathétique. He has just played all 32 Beethoven sonatas in an 8-concert series this year, coupled with videos explaining his views on each sonata. image I have in the beginning is of two dogs happily chasing each other’s tails, but the dolce marking and the innocent delight of the opening bars do belie a fair share of drama in the development, with several chains of surprising modulations (at 8:00 particularly, the left hand, if played on its own, could have well been composed by Bartók or Ligeti). For me it is the true hidden gem of the sonata cycle. Bach: Book 2 – Trinity VIII-XVI, On the Cantatas of J.S. 32 in C Minor, Op. For sheer theatrical pleasure, though, listen to the transition to the reprise (4:18) – the crossing of the hands, as they simply can’t come together, the plaintive E flat clashing with the deadpan repeating D, the waits and stops and hesitations – it’s masterly; and so is the coda (6:14). The fault for its being a hidden gem lies at least partially with its sister, the incommensurably more popular ‘Moonlight’ Sonata, Op. Even the second subject—a dialogue between the lower and the upper voices (2:09)—brings no relaxation of energy, as both the unremitting pulse and the sharp, spiky articulation go on. But the problem with this story is twofold: first, in Schindler’s account, Beethoven’s reply applied to both Sonata No. But the final result is more than a joke: there’s plenty of genuine drama in the development, and a fascinating interplay between major and minor keys in the second subject, foreshadowing Schubert’s immediacy of mood changes. Or on the last note of the opening line, coinciding with the first note of the left hand? 2 and the three sonatas, Op. 2, it's the third work of the sonatas Op. Then Beethoven stops (4:16), reconsiders (4:18) and finally continues in the right key of F major (4:27). The structural innovation is easy to point out: out of the Sonata’s four movements, none are in actual sonata form. From the first bar, there is an unadorned sincerity to the music which catches one's breath – I couldn't think of a bigger and less expected contrast to the fun-filled ingenuity of the opening movement. Later, he would give the same epithet to the Pathétique, the Waldstein and the Hammerklavier. The development (2:54) takes on a more serious tone, though even there Beethoven conceals a joke – probably not lost on the connoisseurs, at whom the sonatas in general were aimed – this development doesn't develop any of the main themes of the exposition! The opening chord breaks once and for all with Haydn and Mozart. On the other hand, an explosive cascade of double octave triplets, insistent almost to a point of parody or ridicule (1:01). 16 in G major, Op. But none of this prepared me to the white-hot intensity of those three nights. 10 – the sonata No. 111. It is a long rondo with a complex nested form, exploring a Both are chamber works in nature, content with a restrained emotional and aural palette, for once not straining against the boundaries of the instrument. Beethoven's writing is almost orchestral – one could easily hear horns in the opening, jolly oboes and bassoons in the bridge section and multi-layered string tremolos in the codetta. In its harmonies, it is also the more adventurous variation of the three, adding dense chromaticism to what is otherwise quite a bland movement (harmonically only!). piece we know today as Andante favori, WoO 57. The introduction material also comes back right before the end of the first movement (7:33), with hesitant, questioning phrases, before a final return of the fast tempo, and the decisive, defiant last chords. 1 and the sonatas Op. Beethoven himself thought very highly of the work, and perhaps it is only in hindsight and through the lens of our own sensibilities that we find the sonata falling somewhat short of Beethoven’s greatest works. So what now? Based on sketches in one of Beethoven’s notebooks, Sonata No. Allegro 4. soon convinced my teacher of the truth of the remark. A detailed guide that analyzes the structural, harmonic and thematic frame. The middle section that follows is, for me, problematic. Sonata No. Perhaps this was Beethoven’s intention exactly – to clash the inner and outer worlds. All rights reserved, including educational use. It is also perhaps the most deeply-felt part of the sonata, questingly exploring numerous keys in a long modulating passage. And the earthiness of the opening phrases is contrasted with the middle section of the theme, which is written legato and floats weightlessly in a higher part of the keyboard. American musicologist Richard Taruskin, in his massive but marvellous Music in the Seventeenth and Eighteenth Centuries (2010), gives an extensive discussion of Op. At first, the thunderous octave passage is almost double the length of the opening Menuetto, seemingly overpowering it, but as the movement progresses, it is the minuet element that is developed and varied, acquiring elaborate ornamentation, while the octave passage becomes shorter and finally disappears completely until the very final bars. From Variation 4 onwards each beta divides into nine, and so the correct time signature would be 27/32, but Beethoven uses 9/16 with implied triplet signs. – so much, in fact, that 'C minor mood' became a semi-official term in Beethoven literature. 16 in G major, Op. 20, Op. Instead of live concerts, I was doing live-streams from home every 1-3 days, and it was the direct contact with the online audience, their support and their presence which helped me get through these difficult months. The finale’s opening (15:08) presents us with what was (intentionally, I believe) missing from the first movement – a long melody of true poetic beauty, earning the Sonata its second, much more artistic nickname, ‘L’Aurora’ (‘The Dawn’), as its gentle caress seemed to evoke the first colouring of the sky at daybreak. 19, Op 49, No. Piano Sonata No.31 in A♭, Op.110 31. From that point on, it is all relentless, unremitting tension, in one wave after another, almost through to the end. 4, Op. The exploration and crossing of boundaries can be seen as a central motif in Beethoven's compositions in general, and in his piano … Thomas Mann, in his great novel Doctor Faustus (1943-47), in its chapter eight, introduces several of his concepts of the nature of music, using as one specific example, the sonata, Op. It’s a harrowing movement, picking up the storyline from the end of the first movement to complete an arch of great emotional and dramatic impact. They are mentioned almost as an afterthought: ‘two little easy sonatas of two movements each’, following a list of more major works available for publication: a symphony (No. Following the glissandos the frantic energy suddenly peters out, and the theme appears several times above a pianissimo trill and a gently flowing left hand (24:24). The challenge of describing the opening theme exemplifies for me the complexity of feeling we’ll frequently encounter from now on. Based on the opening notes, it is impossible to say where the downbeat is – is it on the second note of the right hand? 10 No. I see there a ballet for the fingers, with beautiful hand choreography implied in the music – stately steps in the left hand, slow wide leaps contrasted with fast-fingered runs in the right hand, all frozen on the page, awaiting a graceful reawakening. But I jump too far ahead – all this will apply much more to Beethoven’s later sonatas! Ferdinand Ries wrote: ‘In the sonata (in C major, This necessitated a change in the original schedule, and the first sonata video will be released on January the 17th. Seen as part of Op. He returns there to the expanded, four-movement structure of his first four sonatas, and abandons – perhaps with the exception of the finale – the concise, sometimes even abrupt manner of composition he used in the fast movements of sonatas Nos. But the evocative power of the music, its heightened sensitivity show Beethoven’s unstoppable growth as an artist. To counterbalance this immense tranquility, Beethoven infuses the outer movements with heaps of energy. To single out just a few. 10 and 11 – and I will do so tomorrow and next weekend. Its climaxes flex a bit more muscle than those of the opening movement; hinting, perhaps, at the coda, where Beethoven finally lifts all restraints and brings in the exuberant, exultant, Bacchic side of nature to end the sonata in a D major blaze. 78, 90 and finally 111. 1, with its wonderful simplicity, innocence and utter lack of desire to move anywhere, harmonically speaking (this, in contrast to the most basic tenet of a sonata form – its inherent need to change key, change subject, modulate, explore). But once the question has been asked, Beethoven explores it with all the seriousness and thoroughness he would accord any of his usual musical motifs. 32 The complete Beethoven sonatas About Experience the legendary pianist Daniel Barenboim’s touchstone recordings of the complete Beethoven Piano Sonatas, filmed in 1983–1984 in the glittering grandeur of Austrian palaces! The immediacy and intensity of emotion is staggering, right from the opening C minor chord. This interplay between two and three continues throughout the movement, as does the virtuoso interplay between the right and left hands. I politely disagree with those who call this movement foursquare or perfunctory (those words could hardly apply to any of Beethoven’s mature works!). Op. Op. … and then the finale hits, and it is a bit of a shock at first – so utterly down-to-earth it is, with both feet on the ground and all ten fingers solidly on the keyboard. A moment of hesitation just before the end, one final silence, and then the sonata closes with a final plunge into the C minor abyss. repeats it multiple times around the slightly more sombre episodes, allowing us (and perhaps himself too, as a performer) to enjoy it to its fullest. Those three came with their set of challenges though – though musically very clear, all three are virtuosic and increasingly expansive in scope and ambition (No. I can barely imagine the impact this music must have had on its first listeners. 28 instead. Rather than any specific element, for me it’s a sense of a gradually eroding barrier between the content of the music and the emotions embodied within. 15 in D major, Op. Today, I can both understand my initial reaction and see how superficial it was, and, ultimately, how wrong. 7. Beethoven wrote 32 sonatas for piano in total. ), which is like a premonition of the funeral march, heavy and hollow with pain; and the final one, with its gentle flow of triplets, embracing both listener and performer. This opening line is also the basis of the development, the only truly turbulent section of the sonata. 31 No. Beethoven then pursues the slapstick routine to the end, with the penultimate hesitant notes being capped with an almost-inevitable fortissimo bang of a C major chord. 32; Sonata para piano n.º 32; Sonate pour piano nº 32 de Beethoven; Sonata per pianoforte n. 32; ピアノソナタ第32番; Pianosonate nr. And the finale, a rondo in form, is a light-fingered perpetuum mobile, akin to a merrily bubbling brook which follows the funeral march to wash away all sorrow. He has played all the sonatas in public since the age of 18. In the end, after the farewell coda with its drone-like left hand, it all evaporates like a summer day’s dream. In the end, perhaps it doesn’t matter. Along with Beethoven's 33 Variations on a Waltz by Diabelli and his two collections of bagatelles, this was one of Beethoven's last compositions for piano. Sonata para piano n.º 32 (es); Sonate pour piano nº 32 de Beethoven (fr); Pianoarentzako 32. 3, on the other. The meditative qualities of the arietta, apparent from the first bars, are highly interesting, and are supported by the metrical scheme. (On this day 249 years ago Ludwig van Beethoven was baptised. 2 was probably composed immediately before Sonata No. I’ll be releasing a new sonata every few weeks starting on the 17th of January, and I’ll be writing about my experience throughout the year. 2013 Preview SONG TIME Piano Sonata No. 13. Both contain a middle section in minor – hushed and shadowy in the third movement (in the deep-flat key of E-flat minor), stormy and dramatic in the finale. 111 in a way, a revelation that I had never heard, and Schubert’s D. 960, with such conviction of coherence and awareness that it turns sadness of mind into its brilliance. An absolute masterpiece in its own right. SUBSCRIBE  for a free selection of my writings. The big climax comes at the point of reprise (11:32), which continues the fugal character, though in fortissimo, and with keyboard-spanning passages in alternating hands. 111, is the last of Beethoven's piano sonatas. Beethoven seems more relaxed here, softer, at times genuinely happy. Piano Sonata No.29 in B♭, Op.106 "Hammerklavier" Part of the original idea for the project was to explore the sonata cycle in chronological order. Having written the above, I wonder if it is unfair to reproach the sonata for mostly playing it safe. It was written between 1821 and 1822. The episodes are brighter, even humorous, which makes each return of the refrain seem that much more impactful, inevitable, even fateful. 10 in G major, is a real hidden gem. 32, Op. 13 that, for me, it was the true hidden gem of the cycle. The coda (22:37) is like an entire theatre scene in itself, finally erupting into a hyper-energetic presto – decisive, bold and even containing a strong downbeat or two. I realize now that what I’d love to emerge from this year is a kind of a dreamscape, shaped around the pillar of the sonatas cycle, born of an interaction of sound, word, emotion and thought. I do believe we can sense the budding changes, especially in the first and third movements. 21, Op. By Ludwig van Beethoven. And then my interlocutor added, as if a bit embarrassed by this, “even Op. 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