Beethoven: Piano Sonata 16 - 20
This fifth volume in my Works Series series
follows Beethoven's piano sonatas from pianist Stephen Kovacevich. This
post will cover CD5 in Warner's 2017 set, which includes Piano Sonatas 16 - 20.
The trio of Op. 31 piano sonatas begin Beethoven's middle compositional period. I can say with great confidence that these three are each a gem in their own right, but stand away from his earlier sonatas as something much more substantial and different. The Op. 49 sonatas are a strange case of very early works being published later in life, thus a late Opus number for rather juvenile pieces.
For those looking for my generalized thoughts, skip to the bottom. Otherwise, I will do a movement-by-movement breakdown of each sonata for those who wish to listen along. I provided a YouTube playlist at the very bottom of this blog post of Stephen Kovacevich's recorded performances in order to make it easier to follow along with my thoughts.
The trio of Op. 31 piano sonatas begin Beethoven's middle compositional period. I can say with great confidence that these three are each a gem in their own right, but stand away from his earlier sonatas as something much more substantial and different. The Op. 49 sonatas are a strange case of very early works being published later in life, thus a late Opus number for rather juvenile pieces.
For those looking for my generalized thoughts, skip to the bottom. Otherwise, I will do a movement-by-movement breakdown of each sonata for those who wish to listen along. I provided a YouTube playlist at the very bottom of this blog post of Stephen Kovacevich's recorded performances in order to make it easier to follow along with my thoughts.
Piano Sonata 16, op. 31 no. 1
Movement 1
Key: G Major
Meter: 2/4
Tempo: Allegro vivace
BPM:
= 144
The second motivic area arrives after yet another restatement of the opening melody, as if flanking the inner transitional material. Once we arrive there, the second motive springboards up syncopatedly in the right hand, but when the melody switches over to the left hand, the music sounds as if made for a silent movie, set in a minor train-robbery key. Beethoven gives this area more accompaniment figures compared to the first, both sections contrasting each other marvelously. The key of B Major and B minor are again rather distant keys from the home G Major.
While the development section focuses on the off-kilter rhythm introduced at the beginning, Beethoven seems to revel in the semiquaver octave runs from the transitional portion rather than the second motive. To segue back to the home key, he slows down the rhythms, as if tired after a horse race, before leaping into the recapitulation.
While I mentioned distant keys in the exposition restatements, he does the same for the recapitulation, except the opening restatement is now in A minor, while the second motivic area is in E Major and E minor, the latter making an easy segue to its parallel G Major.
Rarely have I heard Beethoven as jovial and in as good spirits as he here. Even in the minor-mode realizations, the composer seems to be reveling in joyousness and wit. Stephen Kovacevich's articulations during those fast semiquaver runs are impressive throughout, also wittily jumping upon Beethoven's sudden sforzandos.
Movement 2
Key: C Major
Meter: 9/8
Tempo: Adagio grazioso
BPM:. = 45
This second movement sounds to me as if a benefactor told Beethoven he 'didn't employ enough trills and embellishments in his music'. And in reply, Beethoven creates this slow movement with nothing but trills and embellishments to shove back in their face. To my ears, I hear Liberace meets Beethoven, so many gliding chromatic scales encrust this movement.
These overboard keyboard features continue the eye-twinkling wit from the first movement in my opinion, rather than anything overly serious or gentille, as if Beethoven is deriving all of the pleasure of the movement for himself. Even the minor-keyed central episode doesn't come anywhere near doom and gloom, and nor does it need to.
If anything, the return to the opening material is even more festooned with trills and the like, including a right-hand cadenza of sorts, as if a luxurious dessert.
Movement 3
Key: G Major
Meter: Cut time
Tempo: Allegretto – Presto
BPM: 𝅗𝅥 = 88
I am always surprised when a final movement from Beethoven is set at such a moderate tempo, even though he does it more often than not as of late. It is so disarming to expect a final romp, especially after a centrally located slow movement, only to come upon a gentle Allegretto for the last movement.
This restrained tempo, though, does allow the piano to squeeze in some devilishly-moving triplet figures, areas allowing the pianist to show off their skills, particularly when the triplets reach the left hand. And despite the rather sturdy tempo designation, this movement feels substantial. Before the final moments, Beethoven stops the music to an Adagio, making way for three or four separate piano statements before launching into a final Presto.
Furthermore, I believe every movement of this sonata has ended on a precious, quiet button, ones which sounds just as delicate as they do humorously sly or coquettish. Each movement here has such personality, and while Kovacevich never feels the need to spotlight a musical witticism, he keeps things appreciably light, keeping the focus on the music, not the pianist. As opposed to previous sonatas where I felt Kovacevich was being held back, waiting for a dramatic turn, here I think he is enjoying himself greatly.
Key: C Major
Meter: 9/8
Tempo: Adagio grazioso
BPM:
. = 45This second movement sounds to me as if a benefactor told Beethoven he 'didn't employ enough trills and embellishments in his music'. And in reply, Beethoven creates this slow movement with nothing but trills and embellishments to shove back in their face. To my ears, I hear Liberace meets Beethoven, so many gliding chromatic scales encrust this movement.
These overboard keyboard features continue the eye-twinkling wit from the first movement in my opinion, rather than anything overly serious or gentille, as if Beethoven is deriving all of the pleasure of the movement for himself. Even the minor-keyed central episode doesn't come anywhere near doom and gloom, and nor does it need to.
If anything, the return to the opening material is even more festooned with trills and the like, including a right-hand cadenza of sorts, as if a luxurious dessert.
Movement 3
Key: G Major
Meter: Cut time
Tempo: Allegretto – Presto
BPM: 𝅗𝅥 = 88
I am always surprised when a final movement from Beethoven is set at such a moderate tempo, even though he does it more often than not as of late. It is so disarming to expect a final romp, especially after a centrally located slow movement, only to come upon a gentle Allegretto for the last movement.
This restrained tempo, though, does allow the piano to squeeze in some devilishly-moving triplet figures, areas allowing the pianist to show off their skills, particularly when the triplets reach the left hand. And despite the rather sturdy tempo designation, this movement feels substantial. Before the final moments, Beethoven stops the music to an Adagio, making way for three or four separate piano statements before launching into a final Presto.
Furthermore, I believe every movement of this sonata has ended on a precious, quiet button, ones which sounds just as delicate as they do humorously sly or coquettish. Each movement here has such personality, and while Kovacevich never feels the need to spotlight a musical witticism, he keeps things appreciably light, keeping the focus on the music, not the pianist. As opposed to previous sonatas where I felt Kovacevich was being held back, waiting for a dramatic turn, here I think he is enjoying himself greatly.
Piano Sonata 17, op31 no. 2
Movement 1
Key: D minor
Meter: Common time
Tempo: Largo – Allegro
BPM: 𝅗𝅥 = 116 - 124
Movement 1
Key: D minor
Meter: Common time
Tempo: Largo – Allegro
BPM: 𝅗𝅥 = 116 - 124
The Tempest Sonata is the first piano sonata where I hear Beethoven. In his symphonies, I hear the composer right from the First Symphony, but it has taken this long for me to hear his 'sound'. What is this? I am not sure I can define it, but it is a mix of voicings, cadences, and harmonic motion, wrapped together with melody, texture, and rhythm, all coming together to create a distinct aural personality which is Beethoven's own.
One odd feature running throughout this first movement occurs at the very start. A rolled chord (in first inversion) is held out with a short, slow, upward moving arpeggio. This will return a number of times later on, including in the very next restatement. When the rolled chord and arpeggio is complete, a surging minor theme incessantly moves forward. The second rolled chord is in C Major, not the first chord one thinks of in D minor.
The transition to the second section features quickly moving tremolo, while the right and left hand alternate a single melodic line. The actual second motivic area is more dancing in quality, although it turns much more aggressive in blocked chords, moving rather chromatically after its initial statement, particularly relishing the half-step interval.
The development is bookended by reminiscences of the Largo opening. Leading into the development, three arpeggiated figures occur one after another. Moving out of the development, the return of the opening is rolled, but the pianist has an improvisatory doodle which follows, linking to the recapitulation and restated in an equally improvisatory fashion. The center of the development section takes from the tremolos with left and right hand dialogue, but here it is the left hand doing double duty of treble and bass clef questions and answers.
For the recapitulation, but after the aforementioned improvisational doodles, Beethoven does away with the transitional dialogue section and goes to second melodic section via block chords and right-hand triplet figures. The final chords sustain quietly, but with the left hand set in fast-moving semiquavers, as if a storm is dying away.
This movement is beautifully handled by Kovacevich, a pianist who seems to like the dichotomy of big and small musical gestures, which this movement has oodles of. I don't get the heavy, menacing emotions from Beethoven that I do in the Pathétique Sonata, but we'll see what he has in store for us in the rest of the work.
Movement 2
Key: B-flat Major
Meter: 3/4
Tempo: Adagio
BPM: ♪ = 76 - 84
Beethoven is no dummy. This second movement opens with a rolled chord, something which was pervasive throughout the previous movement, I assume as a knowing callback. Fortunately, this occurs right at the outset, yet never appears again, so there is little question as to Beethoven's intentions, in my opinion. The other recurring musical feature are some left-hand bass rumbles set in demisemiquaver triplets, which I find rather unnerving at times.
The first melody is chordal, usually played in a lower register, followed by high-pitched answers. The second F-Major melody is one I call the 'Flintstones' melody, for it reminds me of their theme song, found in the one place within this movement which receives a typical accompaniment figure.
While a lone, single-voiced treble melody ends this movement in its final measure, it is a bass plunk which gets in the last word, perhaps a nod to the many rumbles strewn across the movement.
This second movement is all over the place tonally. It can be sweet and melodic, but on the other hand, it can be distantly menacing as well, as if recalling the storm from earlier. My apologies for my references to the 'Tempest' subtitle; it was one not intended by Beethoven, nor was it known to audiences of his time. I do, however, enjoy its influence upon my imagination, so I continue to reference it. Simply ignore such ravings if it bothers you...
Movement 3
Key: D minor
Meter: 3/8
Tempo: Allegretto
BPM:. = 80
One odd feature running throughout this first movement occurs at the very start. A rolled chord (in first inversion) is held out with a short, slow, upward moving arpeggio. This will return a number of times later on, including in the very next restatement. When the rolled chord and arpeggio is complete, a surging minor theme incessantly moves forward. The second rolled chord is in C Major, not the first chord one thinks of in D minor.
The transition to the second section features quickly moving tremolo, while the right and left hand alternate a single melodic line. The actual second motivic area is more dancing in quality, although it turns much more aggressive in blocked chords, moving rather chromatically after its initial statement, particularly relishing the half-step interval.
The development is bookended by reminiscences of the Largo opening. Leading into the development, three arpeggiated figures occur one after another. Moving out of the development, the return of the opening is rolled, but the pianist has an improvisatory doodle which follows, linking to the recapitulation and restated in an equally improvisatory fashion. The center of the development section takes from the tremolos with left and right hand dialogue, but here it is the left hand doing double duty of treble and bass clef questions and answers.
For the recapitulation, but after the aforementioned improvisational doodles, Beethoven does away with the transitional dialogue section and goes to second melodic section via block chords and right-hand triplet figures. The final chords sustain quietly, but with the left hand set in fast-moving semiquavers, as if a storm is dying away.
This movement is beautifully handled by Kovacevich, a pianist who seems to like the dichotomy of big and small musical gestures, which this movement has oodles of. I don't get the heavy, menacing emotions from Beethoven that I do in the Pathétique Sonata, but we'll see what he has in store for us in the rest of the work.
Movement 2
Key: B-flat Major
Meter: 3/4
Tempo: Adagio
BPM: ♪ = 76 - 84
Beethoven is no dummy. This second movement opens with a rolled chord, something which was pervasive throughout the previous movement, I assume as a knowing callback. Fortunately, this occurs right at the outset, yet never appears again, so there is little question as to Beethoven's intentions, in my opinion. The other recurring musical feature are some left-hand bass rumbles set in demisemiquaver triplets, which I find rather unnerving at times.
The first melody is chordal, usually played in a lower register, followed by high-pitched answers. The second F-Major melody is one I call the 'Flintstones' melody, for it reminds me of their theme song, found in the one place within this movement which receives a typical accompaniment figure.
While a lone, single-voiced treble melody ends this movement in its final measure, it is a bass plunk which gets in the last word, perhaps a nod to the many rumbles strewn across the movement.
This second movement is all over the place tonally. It can be sweet and melodic, but on the other hand, it can be distantly menacing as well, as if recalling the storm from earlier. My apologies for my references to the 'Tempest' subtitle; it was one not intended by Beethoven, nor was it known to audiences of his time. I do, however, enjoy its influence upon my imagination, so I continue to reference it. Simply ignore such ravings if it bothers you...
Movement 3
Key: D minor
Meter: 3/8
Tempo: Allegretto
BPM:
. = 80Broken arpeggios make up much of this last movement, another final movement set at a rather moderate tempo. The pianist is never relieved of this perpetual motion, although Beethoven changes up the rhythmic patterns by setting the contrasting section in right-hand octaves and left-hand broken chords, although some repeated hemiolas obscure the meter from time to time.
Otherwise, Beethoven never diverts his attention from the gentle forward motion. Again, this is not menacing, nor even necessarily melancholic to my ears rather than it is pensively wistful, I think. Its pressing rhythms from Kovacevich might suggest more, but I will stand for these adjectives for now.
I have mentioned in the past I thought Beethoven's three-movement sonatas as less substantial than his more symphonic four-movement ones. I don't think that is the case anymore, and here we have had two piano sonatas of great substance and personality set in three movements.
Piano Sonata 18, op. 31 no. 3
Movement 1
Key: E-flat Major
Meter: 3/4
Tempo: Allegro
BPM:
= 148A dotted falling interval of a fifth makes up the beginning theme of this last Op. 31 sonata. More telling, though, is how Beethoven doesn't actually land upon E-flat Major until some measures after the start, as if teasing the listener. The placement of a fermata at the end of the phrase allows Kovacevich to further tease the listener by dragging out the tempo a bit as well. Can I share that I am absolutely entranced by the harmonic motion which accompanies the falling fifth idea (sometimes sixth) during the following transition? I am not sure what it is about these harmonies, but it is very un-Beethoven sounding, yet it wildly captures my imagination.
The second motivic area is made up of little semi-quaver blips, ones preceded and followed a more lyrical right-hand melodic line. This melody is further embellished upon a later restatement, where the blips are transformed into leaping dotted figures.
Suffice to say, these dotted falling rhythmic figures feature strongly throughout the development, even appearing in the left hand, where they meld into left-hand blips from the second melodic section. While the recapitulation is pretty true to its initial statements, it should come as no surprise that Beethoven elaborates and elongates upon the original, creating his own conclusion.
Movement 2
Key: A-flat Major
Meter: 2/4
Tempo: Scherzo: Allegretto vivace
BPM:
= 100I didn't mention it in the first movement, but this E-flat Major piano sonata is nearly the last sonata Beethoven sets in four movements, a structure he came up with. What makes this one unusual is that it contains no slow movement, instead putting a Scherzo into the second-movement position.
A very rhythmic bass line is a standout feature of this second movement, alongside small-scale unison musings which lie outside the highly driving rhythmic areas, although theses musings have highly-dotted attributes. Also, Beethoven seems to have fun throwing in sforzando chords suddenly, jumping out of the musical textures.
I would term this movement as rather Baroque sounding, much as I have done in the past, but as in those examples, it is more Beethoven taking Baroque sounds and fleshing them out in a Classical Era mold. It is all quite fetching when he does so, as here.
Movement 3
Key: E-flat Major
Meter: 3/4
Tempo: Menuetto: Moderato e grazioso
BPM:
= 100As if acknowledging the lack of slow movement, this third-movement Minuet is smooth and uncomplicated, offering more of a genial atmosphere rather than a stream of creativity. Only the Trio interrupts the relative calm, but does so rather calmly, easily fitting in from what came before.
Otherwise, this is a rather unadorned Minuet with a short Coda providing a little bit of minor mode.
Movement 4
Key: E-flat Major
Meter: 6/8
Tempo: Presto con fuoco
BPM:. = 196
A bounding 6/8 provides, what I assume is the basis for this piano sonata's sometimes subtitle, The Hunt. More than a mere fox hunt though, I hear an Italiante dance rhythm which pervades the movement.
Rather than finding contrast to the main theme, Beethoven seems intent to simply create a development section. This makes the compound rhythmic profile rather intense, as it never lets up during the movement's runtime. Again, Beethoven seems to enjoy throwing in a loud sforzando chord every once in a while to keep the listener on their toes.
The Op. 31 set of three piano sonatas must be his finest thus far, with each individual sonata a jewel itself. These are three works with high levels of creativity, easily showcasing where Beethoven is moving as a composer, but also his ability at the keyboard, for these represent his prowess as a pianist as well. Kovacevich has equally convinced me.
Key: E-flat Major
Meter: 6/8
Tempo: Presto con fuoco
BPM:
. = 196A bounding 6/8 provides, what I assume is the basis for this piano sonata's sometimes subtitle, The Hunt. More than a mere fox hunt though, I hear an Italiante dance rhythm which pervades the movement.
Rather than finding contrast to the main theme, Beethoven seems intent to simply create a development section. This makes the compound rhythmic profile rather intense, as it never lets up during the movement's runtime. Again, Beethoven seems to enjoy throwing in a loud sforzando chord every once in a while to keep the listener on their toes.
The Op. 31 set of three piano sonatas must be his finest thus far, with each individual sonata a jewel itself. These are three works with high levels of creativity, easily showcasing where Beethoven is moving as a composer, but also his ability at the keyboard, for these represent his prowess as a pianist as well. Kovacevich has equally convinced me.
Piano Sonata 19, op. 49 no. 1
Movement 1
Key: G minor
Meter: 2/4
Tempo: Andante
BPM:
= 102When I choose to go through a composers sonatas, symphonies, concertos, etc. I like to go chronologically, or at least by catalog number. The first time I did so in Beethoven's piano sonatas, upon reaching his Op. 49 diptych, I had two thoughts - either he was commissioned to compose two sonatas for the ability level of the commissioner or they were written to accommodate students.It turns out, these were simply very early compositions, ones which were published much later in Beethoven's career, although they may indeed have been intended as student exercises as well. Thus, this is music which sounds even simpler and more basic than even his first published efforts in the genre.
While I have mentioned that every volume of piano sonatas in this chronological set from Kovacevich has had a minor-keyed sonata in it, this fifth volume actually has two. While this one is set in G minor, it doesn't remain so for long, eagerly transitioning to the Major in a rather Classical Era manner.
Otherwise, this movement sounds rather basic compared to what came before, providing tasteful ornamentations and simple piano textures. I do enjoy the main melody, which is neither angry nor melancholic, but rather a fine fleshing out of the key, although it concludes on a G Major, perhaps landing on a Picardy?
Movement 2
Key: G Major
Meter: 6/8
Tempo: Allegro
BPM:
. = 104Yes, you heard it right. There are only two movements in this rather short piano sonata. I would say this would be a rarity in Beethoven's oeuvre, however, there are a number of two-movement sonatas in Beethoven's future yet to come.
If this last movement doesn't provide the thrills others have in this same key and time signature, it is a genial piece nonetheless.
Piano Sonata 20, op. 49 no. 2
Movement 1
Key: G Major
Meter: Cut time
Tempo: Allegro ma non troppo
BPM: 𝅗𝅥 = 80
Beethoven maintains the G-centric sonata by casting this sister composition in G Major, another structured in a wee two movements. This one is full of affable gentrified propriety, even moreso than the first.The central developmental episode does launch into minor, offering the pianist a nice contrast to the outer G Major.
Movement 2
Key: G Major
Meter: 3/4
Tempo: Tempo di menuetto
BPM:
= 132This sonata also comes in two movements, this one being the last. Set as a Minuet, let's say I am not overly moved, offering little contrast to the opening movement.
Beethoven does change the inner Trio to C Major, key signature and all. Even though this section is quite short, I do enjoy the contrasting music Beethoven provides here.
I wonder if any Beethoven pianists drop these two Op. 49 sonatas, or at least lead into their piano sonata cycle with them instead. I suppose anything Beethoven is cherished, yet these two I could easily do without, at least as they are positioned between Op. 31 & Op. 53.
Final Thoughts
As mentioned before, the whole Op. 31 trio may be the composer's finest treasure. Each sonata, one after the other, impresses beyond expectation. I am constantly enchanted by where Beethoven takes the listener, and we are just over the halfway point of his 32 sonatas.
I wonder if any recorded sets of Beethoven's sonatas position the Op. 49 duo with the Op. 3 and Op. 10 sonatas. For the unsuspecting, these early pieces with a high Opus number can be disconcerting, at least moving chronologically, or I should say by catalogue number.
Luckily, I am fully on board with Stephen Kovacevich at this point. He does not try to overplay the wee Op. 49 sonatas, but imbues the Op. 31 trio with power and charm alike. Many don't enjoy the pianist's rather strong way with Beethoven, but I haven't found him too heavy-handed nor lacking any nuance. Quite the opposite really, especially in this volume.
As I always, I look forward to the next volume with you my friends!
Cheers!
Work Series
Vol. 5 from Beethoven Piano Sonatas on Warner
Works
Piano Sonata 16 in G Major, op. 31 no. 1 (21.07)
Piano Sonata 17 in D minor 'Tempest', op. 31 no. 2 (22.08)
Piano Sonata 18 in E-flat Major, op. 31 no. 3 (20.31)
Piano Sonata 19 in G minor, op. 49 no. 1 (6.13)
Piano Sonata 20 in G Major, op. 49 no. 2 (7.16)
Soloist
Stephen Kovacevich, piano
Label: EMI / Warner
Year: 1994-99; 2017
Total Timing: 78.06
Find more Beethoven recordings HERE!
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