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. Only the closing section (2:56) adds a lighter colour. Instead, my eyes skip to any mention of Italy in the news, as my heart and thoughts are with them and with that small corner of Italy in particular. This is one of Beethoven’s hallmarks: taking tiny musical building blocks and developing them beyond the limits of their perceived potential. A highly unusual, intriguing and fascinating sonata, far more ‘awesome’ that an initial glance might suggest. “Well, I’ve wanted to play the Moonlight Sonata perfectly for quite a long time,” Eurythmics star Annie Lennox, sat at her living room piano, explains to her followers in an Instagram video. The musical development from Beethoven’s earlier sonatas is harder to pinpoint. And Beethoven does have one final trick up his sleeve: after a cliff-hanger near the end of the movement, the slow movement returns – a structural device unprecedented in Beethoven’s large-scale works – granting us a valedictory dose of poetic beauty, before the music plunges into a presto coda, ending the sonata with finger-breaking fireworks. (A shorter version of this text was published in The Times on April 8th, 2020). The ending achieves even greater heights of lyricism – surely among the most beautiful pages written by Beethoven. Dear all, the blog has been silent for far too long. 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. Like great science fiction writing often arises from a simple ‘what if’ question, the outer movements of the Sonata explore two musical worlds where something fundamental has been altered. I am not so sure; different things, undoubtedly. Based on sketches in one of Beethoven’s notebooks, Sonata No. 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! It contrasts No. However, it is definitely a piece characterised by its sparkle, light-fingered drive and ebullient energy, rather than inventiveness or depth of emotion. 111. The main theme is derived from the second subject of the first movement (a nice way to unify the movements), and its imploring, earnest character is augmented by the wonderful, extra-catchy bit at 13:20. 20, Op. 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. 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. Beethoven seems more relaxed here, softer, at times genuinely happy. To point out just one – the unbelievable seven (!) 49, No. 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. At the time, Beethoven had just come out of a prolonged illness, and his music captures both the ineffable fragility of life and the profound, but no-less-ineffable joy at life’s resilience and resurgence. It is immediately repeated higher up, forming a micro-dialogue before the main theme is relaunched, a full tone lower than in the beginning, adding colour to what is usually a neutrally coloured key (no sharps, no flats). If we were to judge this sonata by its fast movements – inventive, fresh, brilliant and imaginative, assured, full of humor and surprises – it would feel as a natural development and intensification of a musical path Beethoven followed in his earlier works. With the same dream-like immediacy of transition, we find ourselves in the relatively distant key of A flat major (linked to C major by the single common note, C). The Minuet is a jewel among the other movements, replete with beauty and poetry. And I’ll keep streaming Beethoven sonatas, as Beethoven is an incredible companion for these times: life-affirming, soul-nourishing, full of love of humanity (his legendary grumpiness notwithstanding), and, in his music, optimistic and sure of a bright dawn to come after any darkness. 3, on the other. It explores the upper reaches of the keyboard too, in a weightless and pointedly beautiful crystalline middle section. 2 and the three sonatas, Op. The heart of the sonata for me is its middle movement (6:20): a slowly unfolding soliloquy, gently glowing, suspended in a timeless world. The manuscripts then lay unpublished for years until in 1802, Beethoven’s brother Kaspar Karl, serving as part-time secretary to Beethoven, included them in an offer to a publisher. Based on sketches in one of Beethoven’s notebooks, Sonata No. 111, the last of the 32 piano sonatas. 11 was a closing, summarising chapter of Beethoven’s early sonatas, then Sonata No. graceful motif with increasingly elaborate variations. 2, is the short, bright, fun-infused interlude between the dark passion and enchanted lyricism of the C minor sonata, Op. 27, the ‘Moonlight’ is like a dark shadow born in the afterglow of No. 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. The exposition is so chock-full of material that Beethoven keeps the development to a minimum: just a short dramatic episode. And whatever the case, he fully compensates for it in the coda, in which the pain is transformed into acceptance and solace. The narrative of its first movement (0:06) is sincere and heartfelt, filled with an artless, touching beauty. But perhaps the biggest shift is in Beethoven's imagination – the very concept of what a sonata could be seems expanded; it is as if a previously two-dimensional painting began to acquire depth. 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. Beethoven: Piano Sonata No. Once this happens, the finale starts gently (15:11) – a spinning wheel of a perpetuum mobile, with a caressing dynamic and light tempo. 10 No. The latter, by the time of the story’s publication, already had a nickname – ‘Appassionata’ – and so the ‘Tempest’ nickname only stuck to the sonata that was still unnamed. Allegro 4. Years after the publication of the ‘Moonlight’, people were still talking about it, leading Beethoven to grumble to his student Carl Czerny that surely he had written better things! The two other movements fit more conventionally in their roles within the sonata arc, but are not at all less exciting in their content. This week I was supposed to be in Sacile, near Venice, filming the next block of sonatas at the concert hall of Fazioli. The repeats of the refrain (five in number!) And yet – as I now understand, Beethoven’s core is life. It is a long rondo with a complex nested form, exploring a The second movement (5:57) changes the mood completely – no jokes or fun-making here. It was dedicated to his friend, pupil, and patron, Archduke Rudolf. The content is clear: depictions of drums and trumpets. Sonata para piano n.º 32 (es); Sonate pour piano nº 32 de Beethoven (fr); Pianoarentzako 32. Bach: Book 2 – Trinity VIII-XVI, On the Cantatas of J.S. Bach: Book 1 – Trinity I-VII, On the Cantatas of J.S. Which supports my point, that Beethoven was done writing piano sonatas, and had consciously decided to stop at 32. American musicologist Richard Taruskin, in his massive but marvellous Music in the Seventeenth and Eighteenth Centuries (2010), gives an extensive discussion of Op. 27 No. Read about Sonata for Piano No. The first movement presents a potpourri of short motifs, differing in mood, filled with drastic contrasts and bits of pseudo-anger, all wonderfully employed for comic effect. We scheduled a period of filming in the second half of July, and decided to film as much as I could humanly prepare, as the autumn looked untrustworthy, with its risk of a second wave. 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. 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. Piano Sonata No.32 in C minor, Op.111 30. That short, melodic figure proves important later on, as Beethoven builds half the development section around it – first as an imitative narrative (5:02), then in a veiled, pianissimo section (5:15), and finally as material for a wonderful build-up (6:22), from a mysterious (though always driven) half-whisper and up to a blaze of brilliance leading back into the recapitulation. Bach, Cantata BWV 58, at the Sunday after New Year – Death in a New Eden, https://www.youtube.com/watch?v=H_XPYX1X-6w&fbclid=IwAR0ThF8vhrOgOQla8JnI0wGQ4Rqe1-3ST56YNYAODeeUk5deXFBS1gcEHIQ. The middle section that follows is, for me, problematic. 5-7 over nine consecutive days over the New Year holidays. – so much, in fact, that 'C minor mood' became a semi-official term in Beethoven literature. So what now? 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. As well as the complete set, we also publish all Beethoven’s 32 piano sonatas as separate items of sheet music.Here is the list. 4, Op. It is undoubtedly the work of a master, one in complete control of his craft and his instrument. 8-11, the Sonata No. The Sonata was Beethoven’s first serious look at the possibilities of a two-movement form (if we disregard the two ‘for the drawer’ Sonatas, Op. Maestoso - Allegro con brio ed appassionato 2. 13’s myriad of moods it juxtaposes a single-minded unity of colour and expression, concentrated and powerful. 23. 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. 111: II. 28 instead. become increasingly varied and ornamented, showing Beethoven’s easy ingenuity and delight in exploring the material in an improvisatory way. But the problem with this story is twofold: first, in Schindler’s account, Beethoven’s reply applied to both Sonata No. The nickname was coined by Ludwig Rellstab, a German poet and influential music critic, some five years after Beethoven’s death, but its colossal popularity certainly dated back to Beethoven’s lifetime. It's all here. In the end, after the farewell coda with its drone-like left hand, it all evaporates like a summer day’s dream. 112 – 114, a triple trill (almost impossible — that is, infinitely hard — to perform) that lasts for seven beats, during which time seems to come literally to a halt despite the repeated notes in the bass.” Again, Rosen has an inspired discussion of Beethoven’s mastery of musical time. The (very prosaic!) The third variation increases the flow by expanding the right-hand accompaniment into semiquavers. 32 in C minor, Op. In two days’ time, the first sonata video will be released on Apple Music and YouTube – the actual launch of the project! The music grows towards the end, whipping itself into a technical and emotional frenzy and culminating in a dazzling cascade down a C major triad. 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. 109, and C minor, Op. 49, No. The challenge of describing the opening theme exemplifies for me the complexity of feeling we’ll frequently encounter from now on. It reminds me quite a bit of the finale of the G major Sonata, Op. As quickly as it came, it is gone, and the soft opening theme returns for one final round. And with this intensity of feeling, comes an overwhelming desire to share. 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. Interestingly, it is the less famous, unnicknamed Sonata No. This is number 32 of 32 piano sonatas by Beethoven. 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. Two weeks ago, in the middle of a US tour, I released the video of sonata No. 19-20) to one of his greatest – Sonata No. And then, after 15 seconds of this explosive but not-too-dangerous rage, all is back to normal, as if nothing's happened. For me it is the true hidden gem of the sonata cycle. Their energy, attentiveness, transparency were the best musical and emotional support I could have wished for, and the trigger for everything I did on stage. 11, Op. In short, it’s the antithesis of everything Beethoven created in the sonata so far. Bach, Cantata 32, at Epiphany I – Longing and the Distress of Emptiness, J.S. On the one hand, Sonata No. 106 (known as the Große Sonate für das Hammerklavier, or more simply as the Hammerklavier) is a piano sonata that is widely viewed as one of the most important works of the composer's third period and among the greatest piano sonatas of all time. 16 is a delight, but a delight perhaps more cerebral than emotional. Bach, Cantata 113, at Trinity XI – Forgiveness and Human Tribulation, Cimarosa, Concerto for Two Flutes, in G (1793), J.S. Of the four sonatas in the recent group, the ‘Pastoral’ is the most traditional in its structure and in the composition of its movements. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. 111: I. Maestoso - Allegro con brio ed appassionato. times with nearly manic insistence in a wildly modulatory section (5:29). 13’s loosely joined sections with a linear progression of defined, clearly structured movements. 53) … there was originally a grand Andante. 10 in G major, is a real hidden gem. To counterbalance this immense tranquility, Beethoven infuses the outer movements with heaps of energy. Whatever the case, both sonatas are certainly not unworthy of Beethoven’s name, the first in G minor perhaps being the stronger work of the pair. Sonata form was the most prominent musical structure of the Classical period and is divided into three sections. Beethoven (thankfully!) 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. 2 was probably composed immediately before Sonata No. The second movement’s (10:17) narrative, much more severe in mood, is personal and inward-looking, its measured accompaniment perhaps closer to the sound of an implacable clock. Beethoven's sonatas Op. The rhythm of the opening figure, quaver-semiquaver, is developed obsessively in variation 1, and reappears twice as fast (with the note values halved) in Variation 2, then twice as fast again (note values quartered) in Variation 3. 1 is the most laconic in its material; in a way the more extrovert Nos. A simple, sincere elegance permeates both the third movement and the finale. And then my interlocutor added, as if a bit embarrassed by this, “even Op. In addition to the dramatic F minor Sonata, Op. From now on, Beethoven will push further and further in an attempt to capture ever more nuanced shades of emotion. These are the highest points of my week right now. 17 and Sonata No. 12 Op. Even without a nickname, the starkly painted landscape of its first movement, the forlorn melody, the quiet grief embodied in the accompanying triplets, the fateful descent of the bass line – all those gripped the imagination of the listeners. All are high quality facsimiles of the original sheet music form of the sonata(s) in each case. But the broken chords themselves recur multiple times inside the movement: in the repeat of the exposition, later on at the demarcation line between the exposition and the development, and most remarkably between the development and the reprise. He has just played all 32 Beethoven sonatas in an 8-concert series this year, coupled with videos explaining his views on each sonata. 12 in A flat major, Op. 2 ‘Moonlight' Beethoven: Piano Sonata No. 1 'the small Pathétique' isn't that helpful. 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. (On this day 249 years ago Ludwig van Beethoven was baptised. The second movement (6:52) can seem even more enigmatic than the first. 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. For me, it is a masterpiece, occupying a special place in the cycle. 10 – the sonata No. But then, I saw colleagues live-streaming from home, and the need to reach people with live music at this time, even if through a smartphone, became overwhelming. The very first bars are seemingly written in two, until the third bar establishes the real meter – in three. 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. ‘Just read The Tempest!’ Beethoven allegedly told his sometime secretary Anton Schindler, in reply to a request to provide the key to Sonata No. 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. The instrument becomes ever more malleable in Beethoven’s hands, the colours and sonorities he conjures ever more lifelike and evocative, natural and almost self-evident, inescapable in their truthfulness. This movement, a great tragic utterance, shows Beethoven's understanding of the human psyche and soul on an incredibly intuitive level; his fearlessness in presenting emotion so raw, so naked; and the sheer compositional and musical mastery he commanded in capturing this emotion in notes. It is wonderfully humorous, full of endlessly self-generated energy, its flow barely interrupted by a few hesitations here and there. Beethoven starts out as if it were a fugue – first one voice, then two, then three – but like in the first movement, it's all wrong, at least according to the academic rules: he mixes the order of the entries, putting the third voice before the second. The first movement centres around an ominous three-note motif that makes the journey through eras of music right before our ears, from the contrapuntal writing of the Baroque to the elegant melody and accompaniment of the Classical, and interruptions of the impending Romanticism to come. And it is the finale which is perhaps the most striking movement of the four. The high point for me was No. 1 and the sonatas Op. I thought it an awesome idea, and here's the first result – 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. 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. And the three sonatas Op. But they were also a huge source of joy and fulfilment; a truly unforgettable musical experience. Beethoven never repeats himself, insists András Schiff. Then Beethoven stops (4:16), reconsiders (4:18) and finally continues in the right key of F major (4:27). 4, Op. A freshness emanates from the opening of the ‘Pastoral’ Sonata; its pulsing bass is akin to a beating heart, bearing the promise of a continuous, unstoppable flow. Instead, Beethoven takes the last three notes – the musical equivalent of "that is all" – and builds an entire extended (and even somewhat dramatic) narrative around it. Here, spirituality is abundant, and Beethoven’s sense of colour, texture and register is exquisite. At that point – 1795 – he was already famous as a keyboard virtuoso, but the transition to fame as a composer was not obvious, and he took great care with the first works he published, a set of three trios (Op. If the highest evocative artistry expressed in such a way as to garner universal appeal for over two centuries is our yardstick, then I would say probably not. 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