Discovery

Whilst working on the next installment of Waldstein I discovered two interesting things:

Beethoven has stayed in the Netherlands in Nov. 1783 being 11 yrs old. He played before Stadhouder William V and received fl. 63 for it. Probably he performed also one of his early sonatas out of which six years later would grow Opus 2.

Beethoven complained about the Dutch being tight on the money and always occupied with it to such an extent that he 'would never ever come back'.

A promise he kept.

Secondly I discovered that my great..grand parents Jean of Polanen and Catherina van Breederode are also the great parents of:

• Lady Diana Spencer
• Queen Elizebeth of Windsor
• Queen Beatrix
• Kaiser. Wilhelm II
• Our own William of Orange (the Silent)
• and even Maxima Zorreguita

Which means I can - next time I meet - call William and our Willem Alexander 'Hello Cuz...'.

To all snobs out there. I can honestly say 'I can do better than that!'

Now onwards with Opus 53...

A time of reflection

The Beginning of Beethoven's
late period

I am probably alone in letting Beethoven's period start with opus 53 and not after Les Adieux (Opus 81a). There two reasons for it.

Firstly I think with Opus 53 Beethoven has truly found his way and is climaxing towards his final sonatas in a consistent and steady way.

Secondly it is the large gap between his piano sonatas opus 31 and Opus 53. That is a lot of other work published in between and unusual considering the regularity Beethoven dedicated his time to piano sonatas in his earlier work. 

Of course, in fact there are two sonatas Opus 49. But these two sonatas written in his very early period were never published by Beethoven himself, but any keen student starting with Beethoven has to thank Beethoven's brother for these two sonatas, because it is him who brought these two sonatas to a publisher. 

Just to underline and try to justify my personal stance on Beethoven's late period here I will look a little bit in Beethoven's personal life at this stage...

Because this period was a breaking point indeed.

• Beethoven in this period accepted the irreversibility of his deafness.
• He took his international future in his own hands
• Undertook with confidence his composition into new areas like Opera and the String Quartet.

Beethoven's illness had driven him to frontiers of death to such an extend that he wrote his last will in Heiligenstadt and kept it in his drawer for the rest of his life. But even though the consequences will even be worse in the near future, gradually he won't be able to have a normal conversation, he has to stop as a performer in 1814, from 1818 people have to write down what they want to say to him, but from this point onwards he is no longer the victim of his deafness.

He even considers to move to Paris in this period, which shows that he is aware of his international reputation and importance. Only his venture in writing an Opera is holding him back and the fact that this area of his work didn't really lead to success eventually is probably the reason he stayed in Vienna. 

The large gap between Opus 31 and Opus 53 is not really a time gap. It is a gap due to his publishing efforts, which became more and more international. Beethoven had tried to keep his publishing efforts in England and France in his own hands and his publisher in Leipzig did not find that agreeable. To the extend that Breitkopf & Haertzel had returned Beethoven's overture to his Opera, his symphony 'Eroica' and his Piano sonata Opus 53, the famous Waldstein. 

And there we are back on track with our series on Beethoven's piano sonatas. For me the beginning of his most beautiful period. The mature rather than the late Beethoven...

Opus 31 (2)

Opus 31 no. 3

This is the end of Beethoven's middle period and it's in his favourite key signature 3 flats! The sonata - although very traditional in form - really is of Beethoven's middle period beauty. It even is that traditional to form that there are four movements. 

No hidden genius ideas then? Oh sure, they are there! For instance the whole first theme works as a grand introduction opening towards the second theme, which is a very Haydnish jolly tune, sort of...

The second movement is also true to form. The scherzo is in fact a tempo indication and not a character indication. After all we have a minuet as third movement. Although entirely true to form?  It tries to be an aria in variation form, but really Beethoven suggests sonata form and rondo. It would work very well as a final movement. 

The Menuetto suggests a very simple Haydnish dance in 8 bars binary form, but after all the Trio is not in minor, but just part of the Menuetto. In fact you might be tempted to interpret this minuet as just a German Dance thrown in for good measure. Let Andreas Schiff play it and it's beauty is immediately apparent.

The last movement is also true to form, albeit true to Beethoven's form, because it is one of his rondos in sonata form. And yummy! A presto as well!

Exactly the speed of this movement has earned it the nickname 'the Hunt'. But beware! As always with Beethoven's fast movements it never is an invitation to rush. Especially here below the speedy long lines slumbers the same spiritual depth as in the first three movements. 

Hence although this sonata at first glance seems very down to earth and playful, it really has the spiritual character of Beethoven's middle period and is a worthy closure of it.

Vladimir Ashkanazy mvt 4

Daniel Barenboim plays mvts 3 and 4

Andreas Schiff mvts 3 and 4 
(lightyears ahead of the other two!)

Opus 31 (1)

Opus 31

We have seen it before with a set of 2 Sonatas. One very famous the other nearly forgotten. 

Here we have three Sonatas. The first nearly forgotten, the second the very famous 'Tempest' Sonata and the third also well known although not adorned by the public at large with a special name.

There is only one explanation. They were published together the first one more than a year after finishing it. That's it. The styles of the three sonatas is very different.

In the first Sonata Beethoven goes back to his early inspiration from Joseph Haydn. It is easy to recognise by now. The 2/4 time signature, the semiquaver patterns and the play with rhythm. Life is wonderful and to be enjoyed. 

The sonata will continue in the typical Haydn style. The second movement, rather Italian, is extremely hard to play with good effect on a piano, but on a spinet or cembalo it will have a good result. I rather suspect that this is one of the reasons why you don't hear this Sonata often. The movement is extremely hard, but who said Joseph Haydn wasn't a virtuoso.

The last movement - a real rondo for that matter - is more familiar to Beethoven ears. An interesting start. Suggesting D major at the start only to reveal G major in Bar 8. 

Then No. 2 the Tempest!

I am not sure whether of his middle period this is his best Sonata. There is too much competition in this period, but it is one of Beethoven's most beautiful Sonatas. 

An architect has been at work here. Like many Sonatas of his middle period this first movement is pure Sonata form, yet transcends it in so many ways. This first theme is so much more than a first theme. It's a broad idea with contrasting elements in it. The key of the second theme is really A minor, but so well concealed that once he uses an A major chord (bar 61) it is already the return to D-minor and the coda connects to the start. 

The Development section works on one idea solely.

And then immediately after the Reprise a surprise indeed. Beethoven suddenly interrupts the flow of ideas and does something entirely new. A bold warning of change. 

 The second movement is only a continuation of the promise of the first movement. Unlimited amount of ideas and the same subliminal threats under immense beauty. 

And then this:

The final movement is 'the' famous rondo. A rondo though in Sonata form - as Beethoven often does - and not in Rondo form. But it is cleverly concealed in a continuous flow of semiquavers. 

Fuer Elise for Adults. Words can't describe it. I give a link to listen to this...

Wilhelm Kempf 3rd movement...

But contrast this with this one of Andreas Schiff. Always my favourite:

Andreas Schiff 3rd movement

Barenboim in the first movement

Barenboim 2nd movement

Andreas Schiff 2nd movement

Opus 26 Pastorale

Pastorale

I saved this one for Christmas, because it is so rewarding to perform or play this Sonata in December. Especially the last rondo movement makes all bells ringing and this Sonata is slowly building up to it.  Again the title has been given by his audience.

It has an Opus number of its own and already that is an indication for the importance of this Sonata. It is one of Beethoven's best. 

It is extremely clever to start with a D7 chord, whilst the movement is in the key of D major. The steady bass notes hold out for the tonal key. 

The movement - although definitely Sonata-form - is transcending the classical harmonic framework and Beethoven is playing a trick with the tonal centre all the time, something which composers like Schumann and Liszt will do. He does this to end the exposition where he started: in D major with the first theme and not with a Coda in the key of the second theme.

This second theme is hiding its real tonal centre also.

Can't be further away from D major, but only as a reference to the key of F# minor through which Beethoven arrives at A major as a bridge to lead back to the beginning. 

Finally Classical Sonata form has found its perfection. A continuous flow of ideas leading full circle to the beginning. This Sonata is perfect.

The following Andante movement is my absolute favourite:

The legato right hand against the staccato left hand pattern is stunning. The expert peddler can excel here, because the first right hand chords must be legato and yet the left hand staccato can't be compromised with. After the fourth semiquaver a very quick pedal before releasing the right hand is very exciting, but not easy. 

The culmination in the demisemiquavers and the key of D-minor takes care off one of Beethoven's most beautiful slow movements.

In the third Scherzo movement Beethoven plays the same trick with the tonal centre. The key is D major again, but the starting F#'s over 4 bars conceals it.

The Trio - being in B minor - likewise starts on the Dominant and that's again F#! This is pure genius!

And then we have the final Rondo!

This Rondo is an indication the late Beethoven is breaking through. This whole Sonata is the top of his middle period anyway. As traditional as this Sonata is in form as revolutionary it is in harmonic structure and texture. The late Beethoven must have found his calling writing this very Sonata.

Do you notice the D's in the left hand as reminder of the D's in the first movement? The 'ma non troppo' indication you have to take very seriously. Too fast a speed would spoil much of this movement. Beethoven takes his time for everything happening in this Sonata and so should you. 

Although again this Rondo is traditional in form it goes far beyond that. The thematic elements are leitmotivs and contrasting sections work as a second Rondo motive. Finally - we might say - Beethoven has discovered the Rondo as to this point he has struggled with that form and very often deviated into Sonata form. 

Finally Beethoven has discovered what you can do with a Rondo. Leading up to the Waldstein he will continue what he has discovered here.

To hear this Sonata you can follow this link. Not necessarily my favourite interpretation as it lacks some of my own emotions associated with this Sonata. Very classical though. I couldn't find Andreas Schiff:
http://www.youtube.com/watch?v=guzBVbU2JxY

Quasi una fantasia

Two in one

Opus 27 consists of two Sonatas 'quasi una fantasia'. One of them adored and played until the sheet music turned to dust and the other hardly looked at and entirely unknown by the public at large, even though it is in Beethoven's favourite key: three flats.

Beethoven stayed on his course of his middle period and the idea in no.26 to start with a variation must have evaluated positively in his mind. But the variation - too Czerny for my liking - doesn't really take off and Beethoven, deciding that an Allegro is more appropriate after all, continues in frenzied broken chords, to return afterwards to the beginning. 

Which reminds me of my composition teacher who reprimanded me for my habit to end exactly as I begun. 'For me that is a cycle completed.', I retorted. 'But nobody does that', he retorted, which resulted in my mind the question arising: 'So?' 

But it is not true. Bach does it often and Beethoven does it quite often too. Admittedly. John Cage doesn't..

So far this sonata left me quite un-impressed, but this is going to change. Admonishing to continue immediately with the next Allegro Molto Vivace:

The fantasia here is about sonata form. What Beethoven is discovering here is one continuous flow of music and doing away with different movements. Something composers as Liszt and the progressives will do later on and claim their invention. Not so... Beethoven is discovering just that here and doing it. 

No wonder that again the performer is admonished to continue into the Adagio immediately. Attacca subito... and so unto the last part. (I won't call it movement here)

Suddenly I am so impressed...

Here you can hear Barenboim playing the first part (unfortunately the editor is stuck in the movement idea still and stops):

http://www.youtube.com/watch?v=5-FHE_v2RPk

There is no connection between this sonata and the following 'quasi una fantasia' opus 27. no. 2 apart from them being in the same opus set and both being 'quasi una fantasia'. 

But this no.2 took the world by storm, with the public giving the name: Moonlight. This time Beethoven was not impressed. For him this was surely not his best sonata and apart from opening with the slow middle movement this Sonata in form is very very traditional. 

Every students wants to play this, unfortunately too soon. But even my brother who never learnt to play the piano could play the first 8 bars...

The minuet is one of the most beautiful ones around, very similar in ideas though to the opus 26 one. Just taken a bit further. 

And then of course the final movement. Not as hard as people think with the right approach. Again a Beethoven 'rondo' in pure Sonata Form. 

The 'quasi una fantasia' bit for the Moonlight we put into dance. Music lovers enjoy. Dogmatics who think you can't dance on Beethoven Sonatas: '*****' . 

Moonlight Movement 1 with dance

Moonlight Movement 2 with dance

Innovation

Let's open with the 
2nd Movement

Beethoven's middle period is starting with this sonata in Ab opus 26. When you have mastered the art you are allowed to start breaking the rules. 

In this Sonata Beethoven dispenses with a Sonata Allegro opening all together and opens with the slow traditional 2nd variation movement. Very obvious variations. 

And he will develop a taste for it, like with the famous Moonlight Sonata, although here Beethoven does write four movements, as if he wanted to make a statement. He was not just forgetting the first movement, but is experimenting with the Sonata as a model. Hence there are four movements in opus 26. 

Some familiar compositions of other composers always pop up in comments on this Sonata. But the 'chicken or the egg' question does not surface when compared with Schubert's impromptu in Ab opus 142. Schubert wrote 'his' so much later and they were only published after his death, so close to that of Beethoven. 

And now we are talking death anyway, the third movement is a funeral march and of course Chopin's famous funeral march is inspired by it. 

It would be very interesting to know whose funeral Beethoven had in mind especially considering the outburst of joy in movement no. 4. 

Unlike Schubert's impromptu which is beautiful even when played too slow, this opening should really be easy going. It is written in 3/8 for a reason. Feel one pulse per bar. To play it in slow three would really spoil the mood of this beautiful set of variations. And the variations are beautiful all five of them. 

If you do that you will discover that the variations flow very naturally into movement 2, which is a lively Scherzo.

With the opening of the Sonata and this Scherzo you feel the Moonlight Sonata coming. It's only one opus number after this one!

And then you have this dramatic funeral March. Which is sooo sad, that indeed it does become suspicious. 

"sulla morte d'un eroe' This IS cabaret isn't it? Did Beethoven parody the french revolution here? And what to think of this bar on the left? So difficult to perform with dignity. 

To really see that just notice what Beethoven is doing the moment the last hand-full of earth is thrown on the coffin!

And now let's party! It is a real Rondo also. For the first time Beethoven has written an entire Sonata without a movement in Sonata form!

Students. This sonata is an excellent programme choice, but handle with care! Here is a performance by John Lill, which I think catches the mood very well.

John Lill, movement I
John Lill, movement III John Lill, movement IV

Contrast the first movement with this:

Artur Papazian