Beethoven: Piano Sonata 21 - 25
This sixth volume in my Works Series series
follows Beethoven's piano sonatas from pianist Stephen Kovacevich. This
post will cover CD6 in Warner's 2017 set, which includes Piano Sonatas 21 - 25.
In this particular set of piano sonatas, Beethoven seems to have moved beyond grouping sonatas within one Opus number, having his works stand on their own instead. These were written between the period of 1804 and 1809, right in the meaty center of the composer's middle compositional period.
Where the sonatas before this grouping had their pianistic difficulties and quirks, many going forward feature virtuosity over recognizable forms, at least from a listening perspective. For me, that means I sit back and listen rather than give into my formalism instincts, where I would parse the parts of these piano pieces within an inch of their lives.
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.
In this particular set of piano sonatas, Beethoven seems to have moved beyond grouping sonatas within one Opus number, having his works stand on their own instead. These were written between the period of 1804 and 1809, right in the meaty center of the composer's middle compositional period.
Where the sonatas before this grouping had their pianistic difficulties and quirks, many going forward feature virtuosity over recognizable forms, at least from a listening perspective. For me, that means I sit back and listen rather than give into my formalism instincts, where I would parse the parts of these piano pieces within an inch of their lives.
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 21, op. 53
Movement 1
Key: C Major
Meter: Common Time
Tempo: Allegro con brio
BPM:
= 168
The opening features incessantly moving chords set in quavers, put into the piano's mid-to-lower register, that has a little melodic tail, which is echoed in the upper treble register. While the first statement is in the home key of C Major, its repetition is in B-flat Major, an odd relationship. This opening's complete restatement is put into tremolo semi quavers, making for a nervy texture, but keeping the little echoing melodic tail.
After some staccato articulated imitating octaves, the second melodic area features block chords in E Major, a chromatic-mediant relationship to the home key of C Major. I try to mention whenever Beethoven does such things to show a pattern from the composer, but these harmonic choices have been firmly established, even in his early sonatas. In the restatement of this second area, Beethoven puts the block chords in the left hand, while filigree fingerwork play over top in the right hand. This means both motivic areas have contained variations rather than plain restatements. The expansive transitional material to finish off the exposition mostly features forward-moving, tension-raising arpeggio and scale work for the pianist, however, Beethoven does allow some time for the rhythms to slow down right before the section ends; a nice little breath of fresh rhythmic air, one with some wonderful sequenced modulations.
The rather lengthy development really utilized the melodic tail I mentioned at the outset, using it to imitate and sequence over semiquaver tremolos. The other device Beethoven uses come from exposition transitional material made up of triplets, although to segue to the recapitulation, he makes his own material, especially in the lower register of the keyboard, which makes quite a din.
Instead of merely restating the opening melodic area from the exposition, in the recapitulation Beethoven stops the music and develops a tiny bit. The second theme of block chords are expanded in their voicings and the composer varies the musical figures which surround the musical material as well.
After the slowing of rhythmic material which appeared right at the end of the exposition, in the recapitulation Beethoven adds a monster of a Coda, continuing to develop his thematic material even further, with far flung keys and many references to various parts of the first movement. These expansionist formal ideas are right in line with where Beethoven goes in his symphonies as well, but ably heard here on a smaller scale.
Movement 2
Key: F Major
Meter: 6/8
Tempo: Introduzione: Adagio molto
BPM: ♪ = c. 60
The second movement of Op. 53 has always bewildered me. First, the use of the term Introduction makes this movement have a purpose other than being music on its own terms. Instead, it has the sole intention of leading the music to the third and final movement. Not only that, but the movement itself has an introduction of sorts as well, where the music doesn't really set its sights on anything melodic until 10 measures in. The continuing idea of an upward interval of a sixth runs rampant here.
More confusing is the harmonic layout. Beethoven really moves all over the place in this movement. His love of diminished and augmented intervals and chords make it hard to pin down where exactly the composer is going, often startlingly so, especially in what is an essentially quite short movement.
So, is this transitional or is it music on its own terms. I am not so sure, but I never ever feel a moment of arrival until the music segues to the third movement, where the rest is ghostly wanderings. Maybe the areas around measures 10 - 16 make up the brunt of the main musical argument of the argument, but the rest is almost too esoteric for these sets of ears. Bizarre!
Movement 3
Key: C Major
Meter: 2/4
Tempo: Allegretto moderato – Prestissimo
BPM: = 110
I love, love, love the noble melody which begins this last movement. It almost starts as if trying to shake off the ghostly music from the previous movement, but once Beethoven transitions the melody to right-hand octaves, the music pleasingly sweeps away the listener in the best way possible. He saves the biggest moment for a third rendering of the main melody, however, the right hand is asked to trill as well as play the melody an octave higher on top of that, all the while the left hand is underlying the music in ever-moving semiquavers. This is beautifully hidden pianistic virtuosity, where the listener is wrapped up in the music, while the pianist is wrapped up in finger-twisting technique.
The semiquaver triplets and octaves which follow almost seem too heavy handed for what preceded, but Beethoven eventually succumbs to returning to his initial ideas. For the second appearance of the loud octaves, the composer actually changes the key signature altogether to C minor / E-flat Major, making for a significant and unexpected development section. A Prestissimo coda makes for a mad dash to the finish line, allowing for an effective conclusion in what is an otherwise gentle-tempoed movement.
Maybe I am not very observant, but this is the first time I have noticed Beethoven notate his preferences for when he specifically wants the pianist to pedal, usually indicated with a star or asterisk. This allows the piano to sustain over many measures, or for the sustaining sounds to clear at given moments. Stephen Kovacevich doesn't academically adhere to each of these indications, but it is interesting to notice what exactly Beethoven wanted, albeit on a fortepiano, not a modern concert grand.
Key: F Major
Meter: 6/8
Tempo: Introduzione: Adagio molto
BPM: ♪ = c. 60
The second movement of Op. 53 has always bewildered me. First, the use of the term Introduction makes this movement have a purpose other than being music on its own terms. Instead, it has the sole intention of leading the music to the third and final movement. Not only that, but the movement itself has an introduction of sorts as well, where the music doesn't really set its sights on anything melodic until 10 measures in. The continuing idea of an upward interval of a sixth runs rampant here.
More confusing is the harmonic layout. Beethoven really moves all over the place in this movement. His love of diminished and augmented intervals and chords make it hard to pin down where exactly the composer is going, often startlingly so, especially in what is an essentially quite short movement.
So, is this transitional or is it music on its own terms. I am not so sure, but I never ever feel a moment of arrival until the music segues to the third movement, where the rest is ghostly wanderings. Maybe the areas around measures 10 - 16 make up the brunt of the main musical argument of the argument, but the rest is almost too esoteric for these sets of ears. Bizarre!
Movement 3
Key: C Major
Meter: 2/4
Tempo: Allegretto moderato – Prestissimo
BPM:
= 110I love, love, love the noble melody which begins this last movement. It almost starts as if trying to shake off the ghostly music from the previous movement, but once Beethoven transitions the melody to right-hand octaves, the music pleasingly sweeps away the listener in the best way possible. He saves the biggest moment for a third rendering of the main melody, however, the right hand is asked to trill as well as play the melody an octave higher on top of that, all the while the left hand is underlying the music in ever-moving semiquavers. This is beautifully hidden pianistic virtuosity, where the listener is wrapped up in the music, while the pianist is wrapped up in finger-twisting technique.
The semiquaver triplets and octaves which follow almost seem too heavy handed for what preceded, but Beethoven eventually succumbs to returning to his initial ideas. For the second appearance of the loud octaves, the composer actually changes the key signature altogether to C minor / E-flat Major, making for a significant and unexpected development section. A Prestissimo coda makes for a mad dash to the finish line, allowing for an effective conclusion in what is an otherwise gentle-tempoed movement.
Maybe I am not very observant, but this is the first time I have noticed Beethoven notate his preferences for when he specifically wants the pianist to pedal, usually indicated with a star or asterisk. This allows the piano to sustain over many measures, or for the sustaining sounds to clear at given moments. Stephen Kovacevich doesn't academically adhere to each of these indications, but it is interesting to notice what exactly Beethoven wanted, albeit on a fortepiano, not a modern concert grand.
While we say goodbye to Beethoven's four-movement piano sonatas for while, we greet the two-movement piano sonata instead. While the Op. 49 piano sonatas were also in two movements, their early compositional dates and student-level purpose don't concern me much. As a matter of fact, I am not sure how I feel about these two-movement works when they appear in Beethoven's middle and late compositional periods.
Op. 54 in F Major is quite short, unusually starting with a Minuet, a dance movement typically positioned in a third movement. While I am never wild about Minuets in general, Beethoven does enough with this first movement to make it interesting.
He utilizes octaves well, where the initial statement is positioned low at the keyboard, moves to the middle register, and ends up with a finishing statement further to the right of the keyboard. He also plays with augmented intervals in his main thematic device, where an on-beat leading tone strikes the listener as odd, but eventually resolves into the melodic line. Also, I enjoy the chord inversions Beethoven uses at the beginning, not necessarily giving the listener the foundational bass, but I think this choice makes the music all the more interesting.
This rather genial Minuet theme is eventually given over to raucous triplet octaves and intervals of sixths as a contrasting section. Similar to moments in the last movement of the Waldstein Sonata, this contrast seems a little heavy handed. I think it is meant to be playful, as Beethoven begins using grace notes and trills to intimate affability.
Movement 2
Key: F Major
Meter: 2/4
Tempo: Allegretto – Più allegro
BPM: = 116
Op. 54 in F Major is quite short, unusually starting with a Minuet, a dance movement typically positioned in a third movement. While I am never wild about Minuets in general, Beethoven does enough with this first movement to make it interesting.
He utilizes octaves well, where the initial statement is positioned low at the keyboard, moves to the middle register, and ends up with a finishing statement further to the right of the keyboard. He also plays with augmented intervals in his main thematic device, where an on-beat leading tone strikes the listener as odd, but eventually resolves into the melodic line. Also, I enjoy the chord inversions Beethoven uses at the beginning, not necessarily giving the listener the foundational bass, but I think this choice makes the music all the more interesting.
This rather genial Minuet theme is eventually given over to raucous triplet octaves and intervals of sixths as a contrasting section. Similar to moments in the last movement of the Waldstein Sonata, this contrast seems a little heavy handed. I think it is meant to be playful, as Beethoven begins using grace notes and trills to intimate affability.
Movement 2
Key: F Major
Meter: 2/4
Tempo: Allegretto – Più allegro
BPM:
= 116Here is another strange second movement, although this one doubles as a concluding movement as well. Notable is the perpetual semiquavers which never cease until the conclusion. Beethoven also mostly prefers a simple two-part texture, even if this music is anything but simple.
What confounds me most of all is the harmonic movement. Often Beethoven's harmonies are on the move, and not always where expected, nor do I find what travels alongside these harmonies and rhythms as particularly melodic. In this way, the textures remind me of the Baroque Era, even if everything else feels forward looking and just beyond grasp for this listener.
For the final page, Beethoven moves to a Presto tempo, putting the pedal to the metal, offering some burning gas for the final moments of the movement.
As I mentioned at the top, this is the type of movement to just sit back and listen to rather than analyze, at least for me. I could probably sit down and work out the form and realize the harmonies, but I prefer to listen. If those aspects are out of reach for me while listening, they are meant to be so.
As far as the sonata as a whole, I am not sure what to think. Piano Sonata no. 22 is very short. What is the over-arching purpose to the musical whole. The jury is still out on this one in my court, but that doesn't mean it will stay there, or a judgement won't eventually be out, however for now, I will remain cautious on my feelings regarding this specific piece of music.
What confounds me most of all is the harmonic movement. Often Beethoven's harmonies are on the move, and not always where expected, nor do I find what travels alongside these harmonies and rhythms as particularly melodic. In this way, the textures remind me of the Baroque Era, even if everything else feels forward looking and just beyond grasp for this listener.
For the final page, Beethoven moves to a Presto tempo, putting the pedal to the metal, offering some burning gas for the final moments of the movement.
As I mentioned at the top, this is the type of movement to just sit back and listen to rather than analyze, at least for me. I could probably sit down and work out the form and realize the harmonies, but I prefer to listen. If those aspects are out of reach for me while listening, they are meant to be so.
As far as the sonata as a whole, I am not sure what to think. Piano Sonata no. 22 is very short. What is the over-arching purpose to the musical whole. The jury is still out on this one in my court, but that doesn't mean it will stay there, or a judgement won't eventually be out, however for now, I will remain cautious on my feelings regarding this specific piece of music.
Piano Sonata 23, op. 57
Movement 1
Key: F minor
Meter: 12/8
Tempo: Allegro assai – Più allegro
BPM:
. = 100 - 110No need to hold back on my judgement of this piano sonata. Op. 57 is another monster of a sonata to set beside the Waldstein Sonata. I don't think any sonata between this one and the much earlier Pathétique Sonata contains such outward emotion as to raise my hackles.While the first movement is directed as Allegro, I am glad the music is allowed to noodle around a bit at the start, allowing the pianist some leeway with expression if so desired. Beethoven also makes good use of the half-step interval as a motive, including a four-note bass line utterance reminiscent of the composer's famous Symphony no. 5 rhythm. But also, the first downward arpeggio in F minor is repeated in G-flat Major, an odd half-step relationship as well, priming the listener for these relationships throughout the movement. D flat to C seems to be the overriding idea Beethoven wishes to convey most of all.
A more noble theme in A-flat Major, one firmly based off of the opening theme, also appears, albeit short lived at its initial statement, in lieu of minor-keyed flourishes. However, this 'secondary' theme will often appear in the left hand as a rather Wagnerian motive, as if tuba and trombones were present, although this might be more derived from the starting theme.
The development really lays into the 'short-short-short-long' device on a half-step interval, and who cannot be reminded of that other works with a similar theme? Because there are not expositional repeats, as a listener I am often afloat as to where we are in the scheme of things as far as form is concerned. I recognize the thematic development, but I am not always sure at what position I am hearing. I suppose as long as I am enjoying myself, that is all which is important.
I could very well imagine a contemporaneous listener believing this music to be the mad ravings of a musical lunatic banging away at the keyboard, so intense is the music making here. There is obviously contrast, but not so much as let out any decent amount of pressure, so heavy is the atmosphere across this movement.
Movement 2
Key: D-flat Major
Meter: 2/4
Tempo: Andante con moto
BPM:
= 45If you have followed my survey, you will know I enjoy Beethoven using the key of D-flat Major. It is a luscious key for the composer, whose preference for middle-to-low sonorities suites the key well.
Of course, the opening melody is unusually diatonic, indicating to the listener that a theme and variation form is on its way. The diatonicism gives the listener a break from the precipice of harmonic expectation of the first movement, while allowing enjoyment of an unctuous, flat key.
The main theme is noble, but subtle. Obviously, the rhythmic complexities increase with each variation, and the personality of the opening is kaleidoscopically altered as the music unfolds. The first variation already messes with expectations, as the right hand is harmonically ahead of the left hand, almost maddeningly so.
The further two variations move more conventionally, although the last statement returns to the opening idea in order to transition without pause to the third movement.
Movement 3
Key: F minor
Meter: 2/4
Tempo: Allegro ma non troppo – Presto
BPM:
= 144Once the dozen or so measure of transitional material pass by between the second and third movements, we are treated to another final movement with perpetual semiquavers, here in a rising and falling mix of arpeggio and scale in F minor.
I must admit, this last movement appears frequently on the demo of most electronic keyboards and pianos. The sheer variety of ranges employed across the keyboard, plus the dramatic nature of the music, are an enticing mix for the sale of such instruments in the showroom.
While there is a pause in the rhythmic action at the center of this movement, I don't truly sense a contrasting episode at any point, with Beethoven surging ahead with this one perpetual motion musical idea. The movement doesn't suffer for it either, for it is astoundingly employed for sheer satisfaction.
Sure, Beethoven's nicknamed sonatas receive a lot of press over the merely numbered piano sonata, but I think some of it is justified. I also sense a remarkable amount of pianistic virtuosity required in both the Waldstein and this Appassionata Sonata. These were obviously composer with the composer's talents at the keyboard in mind, but I wonder how such technically difficult music did at the print music shop, the bread and butter of composers and publishers. It seems to me, only a talented few could only attempt such music, but perhaps without the distraction of modern industry and health, citizens of the past were more apt at the keyboard.
Piano Sonata 24, op. 78
Movement 1
Key: F-sharp Major
Meter: 2/4
Tempo: Adagio cantabile – Allegro ma non troppo
BPM:
= 116 -124Not only do we have another appearance of a two-movement piano sonata, but it is also set in F-sharp Major. I can't think of another Classical Era piano sonata set in such a terrifying key. While they key itself is not especially difficult, the development of music in such a key invites a lot of white-key sharps and double sharps, both of which can be quite tricky. Especially at a time when I can only assume most were not used to playing in such keys.Yet compared to the previous Op. 57 sonata, the virtuosity is tempered some, as is the emotional mood and in-your-face chromaticism. The first movement moves amiably, where the triplets section immediately following the semiquaver transition is my absolute favorite moment. This unassuming section is so unalloyed to the F-Major key, the music comes of the page with unusually pure joy.
There is a central contrasting portion set in the parallel F-minor key, one which is rather short lived. I should mention that Kovacevich does observe the development repeat, making the movement slightly longer than normal for those who do not.
Movement 2
Key: F-sharp Major
Meter: Common time
Tempo: Allegro vivace
BPM:
= 148Wit appears throughout the movement, where a snatch of a march is snuck into a cadence, an odd semi-quotation from Beethoven. Also, little tittering semiquaver grace note figures chuckle along merrily, making for a very lightweight final movement.
As with Op. 54, I am unsure where I stand with the short two-movement piano sonatas from Beethoven. This one shows a little more personality than that previous one, but the music is over before you sneeze.
Piano Sonata 25, op. 79
Movement 1
Key: G Major
Meter: 3/4
Tempo: Presto alla tedesca
BPM: 𝅗𝅥. = 76
From the first notes, this sonata sounds like a Classically structured and balanced piece of music, full of genial propriety. Even the employment of octaves doesn't disrupt the easy-going nature of this first movement.
Some witty rest and an odd harmonic turn in the central section are really the only moments of anything approaching musical surprise for the listener. A few grace note chortles towards the end add any additional humor. And yes, Kovacevich does take the inner repeat.
Movement 2
Key: G minor
Meter: 9/8
Tempo: Andante
BPM:
. = 52What a beautifully haunting melody this second movement opens with, one which I could live with for a long time. And yet, it remarkably fits in with the previous movement, keeping its cards close to the vest, not in an outpouring of extrovert emotion. This one is restrained, and in all of the best ways imagined.
Beethoven does change the key signature to E-flat Major for the middle portion, but at two minutes in total length, every aspect of this piano sonata is proportioned in rather bite-sized morsels. Too bad, for this might be my favorite movement of this particular sonata. It certainly shows Beethoven can work wonders in smaller formats with little development needed.
Movement 3
Key: G Major
Meter: 2/4
Tempo: Vivace
BPM:
= 136Op. 79 ends with a delightful rustic dance. While there are a few moments of muscle, such things rarely last in this movement, preferring airy, carefree rural delights.
While I normally have less to type as I approach the fifth sonata in a volume, this whole sonata is so easy-going, it is hard to say anything about it. There are no harmonic curves to speak of, and the musical formats are rather simply in application.
That said, I had a really good time with the Twenty-Fifth Piano Sonata. Only the first movement left me at arms length, which the second and third movement worked to reel me in much further. It just goes to show Beethoven could disarmingly delight as much as he could face the dark sides of humanity musically.
Final Thoughts
It is really hard to compare the epic proportions of the Waldstein and Appassionata Sonatas with the rather slight sonatas which surround them on this volume.
No, not every utterance from Beethoven needs to dwell in virtuosity and dark emotions, and I think Op. 54, 78, and 79 go someway to show that angle.
On the other side, I am not sure how I feel about these two-movement sonatas. Even Op. 79's brief three movements sounds unusually lightweight for even Beethoven.
I realize I have said relatively little regarding the playing of Stephen Kovacevich. Those who believe he can be too heavy-handed need to listen to these lighter Major-keyed sonatas, for he approaches them with no small amount of gentleness. Kovacevich might not be the most smiling of pianists, but one would not guess it from some of these performances.
Of course, most will want to hear his expected brusque applications to sonatas such as the Appassionata, which is indeed commanding and often exhilarating. But this music isn't all banging and maniacal drive, nor does Kovacevich make it that way, even if he likes to move Beethoven's music along.
As I always, I look forward to the next volume with you my friends!
Cheers!
Work Series
Vol. 6 from Beethoven Piano Sonatas on Warner
Works
Piano Sonata 21 in C Major 'Waldstein', op. 53 (23.21)
Piano Sonata 22 in F Major, op. 54 (10.55)
Piano Sonata 23 in F minor 'Appassionata', op. 57 (24.17)
Piano Sonata 24 in F-sharp Major, op. 78 (10.16)
Piano Sonata 25 in G Major, op. 79 (9.15)
Soloist
Stephen Kovacevich, piano
Label: EMI / Warner
Year: 1992-99; 2017
Total Timing: 78.10
Find more Beethoven recordings HERE!
Comments
Post a Comment