9:27 PREVIEW Piano Sonata No. The other sonata of the pair, No. Its inherent appeal was recognised by Beethoven, and he re-used the theme in the third movement of his hugely popular Septet, Op. 15 in D major, Op. And just in the first-page introduction we are confronted with pain and pathos, nobility and hope, despair and crushing of said hope – a cry straight out of Beethoven’s heart and soul, hurled at us without any protective barriers. 31 is less certain. The nickname wouldn’t have held, had listeners and performers not felt it reflected some true part of the music’s core. 7, while Sonata No. 27, Nos. The most important of the early Sonatas is the Pathétique. The Sonata falls into two distinct parts: the energetic, taut as a wound spring Allegro con brio on one hand, and the expansive, poetic, highly imaginative finale with its slow introduction on the other. 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. Piano Sonata No.32 in C minor, Op.111 30. Dear all, the blog has been silent for far too long. 18 is the only one in the opus to be written in four movements, like most of Beethoven’s Grandes Sonates (Opp. and the ending, which includes a visit to the relatively distant key of D-flat major (17:37), a spooky atmospheric arpeggio (17:55), and which finally evaporates in a curious C major, leaving an ambiguous, unnerving afterimage. It is immensely loveable and an absolute joy to perform. Two weeks ago, in the middle of a US tour, I released the video of sonata No. The mood of course couldn’t be farther apart – allegretto and dolce in Op. But its very explicitness, unnuanced and direct, seems a jarring contrast to the complexity of feeling in the main body of the march. 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. 2, it was the final, third work which was to be the culmination of the opus. His trills are gorgeous, nowhere more so than at the conclusion of the Arietta of Sonata No. The repeats of the refrain (five in number!) 2, it's the third work of the sonatas Op. But even in Beethoven’s time this passage must have been a case of his showing off. He also has a real flair for Beethoven’s fugal writing, so critical to the “Hammerklavier” Sonata, the Sonata … C minor: by far the most iconic Beethoven key. 10 No. 111 will be released on New Year’s day 2021. 1 (hence, expectations! Perhaps, though, dubbing Op. The rondo finale contrasts a wonderfully flowing refrain with more ebullient episodes as well as a highly dramatic middle section. Until, without warning, the world explodes about us (15:39), launching the music (and us) into narrative and emotional turmoil. 19, Op 49, No. Then, as a balm for our wounds, Beethoven writes a heavenly second movement (8:22). 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. From now on, Beethoven will push further and further in an attempt to capture ever more nuanced shades of emotion. Instead, they are much earlier works. 1, on one side and the mature masterpiece which is the D major sonata, Op. 4, Op. Beethoven (thankfully!) The ending achieves even greater heights of lyricism – surely among the most beautiful pages written by Beethoven. 2 was probably composed immediately before Sonata No. Whatever unusualness it does have can be summed up in two points: a) it begins with a dissonant chord (0:06); and b) it has no slow movement, containing instead a Scherzo (8:37) and a Minuet (8:37). 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. This is number 32 of 32 piano sonatas by Beethoven. The structural innovation is easy to point out: out of the Sonata’s four movements, none are in actual sonata form. 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. Mann states that “this added C sharp is the most moving, consolatory, pathetically reconciling thing in the world.” The C sharp occurs just after the conclusion of the triple trill, and Taruskin (and with different emphasis, Rosen), more analytically than Mann, notes that the triple trill introduces the “only modulation ever to intrude, in this movement, upon the limpid C-major tonality of the whole.” Anton Kuerti, in his extensive notes (1996) to his recordings of the Beethoven sonatas, further notes that as the trilling ceases, on the very C sharp, the “bass and treble both play single notes separated by five octaves, as though the composer were telling his theme, ‘There, I leave you to stand on your own.’” Or, to use Rosen’s description, by the “power to suspend motion, seeming to stop the movement of time….”. Arietta (Adagio molto semplice e cantabile) by Ludwig van Beethoven and see the artwork, lyrics and similar artists. Superb facsimiles of the first editions Separately published individual sonatas. The finale (20:39), with its bagpipe-like drone in the bass, brings back the tone of the first movement – calm and mostly gentle, transparent in texture, radiant in its sound. The form, too, is gradually becoming larger, the textures more generous, the writing more pianistic. It’s this combination of objective and subjective, perfectly balanced, which makes the opening page possibly the most challenging part of the entire sonata. Tender and gentle, its melody unfolds like a beautiful, unhurried, heartfelt Lied. ), and a more organic integration of virtuosity and music. Why dreamscape: Hesse wrote that music scores are frozen tone-dreams; but so are interpretations, since what we imagine, what we hear inside our heads while looking at a piece of music, can often be miles away from what our fingers are actually producing. The first movement of Op. Viewing it from a 21st-century perspective, I can’t help but imagine it as a cinematographic effect – the soft sections are the tale being told from afar, while in the stormy ones we are put into the thick of action. We hear it in the finale of the Fifth Symphony and in the glowing opening of the ‘Emperor’ concerto, written as Vienna was being bombarded in 1809. 32 in C Minor, Op. You can follow the entire project here on beethoven32.com. The musical development from Beethoven’s earlier sonatas is harder to pinpoint. There will be many new videos released in the coming weeks and months, so I thought now is the moment for me to bring the website up to date. 13’s myriad of moods it juxtaposes a single-minded unity of colour and expression, concentrated and powerful. 32 in C Minor, Op. 57 ('Appassionata'), the pianist plays the late Sonatas in E major, Op. I do believe we can sense the budding changes, especially in the first and third movements. We hear it in the ‘Ode to joy’, and perhaps at its most transcendent in the ‘Heiliger Dankgesang’ (Holy song of thanksgiving) from the late A minor string quartet (Op. Op. Adam has studied with Alfred Brendel, Sir András Schiff, Leon Fleisher, and Murray Perahia, all Beethoven specialists. 11 in Bb major, Op. The stormy main theme derives directly from it, as does the entire development section and the opening of the second movement. Which supports my point, that Beethoven was done writing piano sonatas, and had consciously decided to stop at 32. 1. 2, is the short, bright, fun-infused interlude between the dark passion and enchanted lyricism of the C minor sonata, Op. But better? 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. 2 and the three sonatas, Op. 111: II. The middle section (11:30), rising from the murky depths of the keyboard, is a delight, rich with unusual, unexpected harmonies. 54 ends with an exuberant celebration in F major, joyful and triumphant. But it seems to me that the writing is far too pianistic to parody opera, and perhaps too pristine to be a parody at all. 111, is the last of Ludwig van Beethoven's piano sonatas.The work was written between 1821 and 1822. … 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. The last two are famous f… 32. 28 'Pastorale' Beethoven: Piano Sonata No. Arietta - Adagio Molto Semplice E Cantabile On the factual side, we have filmed the first seven sonatas over the last 6 weeks. And with this intensity of feeling, comes an overwhelming desire to share. As one would almost expect, it is neither – the downbeat lies in the middle of the right hand line, almost imperceptible on the 4th note of the right hand. Dynamics vary wildly, from the pianissimo of the broken chords to the stormy rage of the fortissimo tremolos in the development. 26. Nestled between two titans – the Waldstein and the Appassionata – is an unusual, enigmatic two-movement work. This week I was supposed to be in Sacile, near Venice, filming the next block of sonatas at the concert hall of Fazioli. A quadruple descending call is answered by an energetic rhythmical motif, as Beethoven resolutely effaces any residual darkness with the most vigorous, driven movement of the sonata. piece we know today as Andante favori, WoO 57. Privacy policy at https://hendrikslegtenhorst.com/privacy-policy/ 12 in A flat major, Op. 2 were his calling card in Vienna as a composer. I thought it an awesome idea, and here's the first result – sonata No. And yet there's nothing empty or ostentatious here: the technical brilliance rests upon a glowing musical foundation, and there's so much atmosphere, colour and narrative throughout to complement the passagework. 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. A bravura first movement, overflowing with effervescent energy and good-natured humour, presents an abundance of melodies and motives. 1 and 2. An absolute masterpiece in its own right. 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). 13 which adheres more closely to this ideal. Only the closing section (2:56) adds a lighter colour. 111: II. The Piano Sonata No. The scherzo is like an explosion of bright colour after the mellow first movement. The music merrily rolls from there, generating its own incessant energy, wave after wave. Prolonged, but without an implied narrative or strong atmosphere (its C major can at times even seem bland). 1 The work is in two highly contrasting movements: 1. 53, known as ‘Waldstein’, after its dedicatee, Count von Waldstein, a close friend and early patron of Beethoven. 19-20) to one of his greatest – Sonata No. The third movement is a lovely minuet, gentle and, apart from the more animated trio, carefree. 10 No. Seen as part of Op. Virtuosity is the core trait of the music, whether serious or humorous, thundering or quick-fingered. 😀. 21 (1804). 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. But more than a simplistic depiction, to me the first movement is an exploration of the mystery of life, from its first beginnings, evoking a sense of wonder and requiring utmost love and care, to the rich abundance of life’s full bloom, captured by Beethoven in multifaceted, sensitive, breathing strokes. To accommodate these subdivisions within the underlying three-beat pulse, Beethoven resorts to peculiar time signatures of 6/16 and 12/32. 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! As I was on my way home from the US, my half-formed plans for the weeks ahead revolved around Beethoven: blogging, writing listening guides, and of course practising – there’s so much new material still to come! One (small) part is alert and following the performance, and perhaps directs the musical flow a little bit, the other (much larger) part is completely sunk into the music, experiencing it in a kind of visceral, instinctive way which precludes logical thinking and seems wired directly to your deepest feelings, without any buffers or defenses. The other half of the development, incidentally, is built around a minor transition motif from the exposition, that Beethoven takes out of its anonymous existence and puts centre stage, repeating twelve (!) 10 which we filmed last week – to be honest, to move from absolute zero to filming in 9 days is crazy… But I loved it so much: utter intensity, utter focus, the music occupying your brain morning till night, evolving before your eyes – it’s exhilarating, and with the music being SO good, the challenges recede before an overwhelming desire to make the music justice and to make it as vibrant, captivating and alive as you can. 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. An unexpected, novel effect, perhaps less to us, who have heard the sonata countless times, but certainly for Beethoven’s contemporaries. However, it is definitely a piece characterised by its sparkle, light-fingered drive and ebullient energy, rather than inventiveness or depth of emotion. Like the opening Menuetto, this movement, too, seems to follow its own somewhat unpredictable logic. 16. 7. But this is an altogether more subtle question than the one asked by the first movement, and for me, the finale works wonderfully without any analysis too. 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. Written between 1821-2, it showcases fugal … 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). Beethoven: Piano Sonata No. 7, while Sonata No. I thought it would be a good point to start the blog. Therefore, I think it's most likely, as mentioned, that he fully intended the 2nd movement of Op. 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). 2 in 1790. In 1796, a year after the successful publication of the three sonatas Op. Instead: a hushed, heartfelt narrative, growing at times to outbursts of raw emotion. As always with Beethoven, once a motif has been introduced – and the broken chord is very much a motif – he will explore its full potential. 2), a ‘grand piano concerto’ (No. 28 instead. Bach, Christmas Oratorio BWV 248-VI, at Epiphany – God Incarnate as Christ, J.S. 28 'Pastorale' Beethoven: Piano Sonata No. Perhaps this was Beethoven’s intention exactly – to clash the inner and outer worlds. 1 is the most laconic in its material; in a way the more extrovert Nos. It is akin to a pocket universe, where rules apply that might not apply elsewhere, and discovering and accepting these rules is a prerequisite to enjoyment. Once home, I set up a rudimentary broadcast station (phones on tripods!) This could also have been a small way of showing off: look, I can take something utterly inconsequential, as far as musical motifs go, and create good music out of it. It's also temptingly easy to compare the C minor sonata, Op. He has known despair beyond any doubt, evident in his writing and some of his music. As with the 3 Trios Op. The second movement (4:35) is a minuet, thoroughly lovely and charming. Allegro 4. I love the sheer musicality of Stephen's approach and the clarity and transparency which his animation brings to the music. 32, Op. The slow movement, too, stands out in its emotional maturity and often exquisite beauty – its deep musicality wonderfully balancing the fireworks of the fast movements. 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. 15 in D major, Op. This is a massive undertaking – I have played 9 of them so far, so 23 will be completely new, including some of the most challenging. I was offered the chance to play it as a teenager; I read through it briefly, decided with typical teenage cockiness that it wasn’t ‘that awesome’, and asked to play Sonata No. 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. 49, No. 2 was probably composed immediately before Sonata No. This necessitated a change in the original schedule, and the first sonata video will be released on January the 17th. This opening line is also the basis of the development, the only truly turbulent section of the sonata. Sonata para piano n.º 32 (es); Sonate pour piano nº 32 de Beethoven (fr); Pianoarentzako 32. And then, after 15 seconds of this explosive but not-too-dangerous rage, all is back to normal, as if nothing's happened. But they were also a huge source of joy and fulfilment; a truly unforgettable musical experience. To celebrate Beethoven’s 250th anniversary year, I will be learning and filming all 32 of his sonatas over the course of 2020. 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. 1. In addition to the dramatic F minor 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. Based on sketches in one of Beethoven’s notebooks, Sonata No. ‘A long aria’, one could say of the big opening phrase – but it’s written in pianissimo, and as such, appears to us as if in a dream, or through a softening mist, an inspired effect. In the coda (16:45), Beethoven allows the music to become truly tragic, a reflection of inner pain and perhaps a deeply felt commentary on the fragility of a single life. 2 ‘Moonlight' Beethoven: Piano Sonata No. The meditative qualities of the arietta, apparent from the first bars, are highly interesting, and are supported by the metrical scheme. 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.