Beethoven: Piano Sonata 32 & Bagatelles
This is the end my friends. Piano Sonata no. 32 sits all by itself in Warner's set, although thankfully Kovacevich filled the void of the remaining CD time by adding Beethoven's Bagatelles.
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 32, op. 111
Movement 1
Key: C minor
Meter: Common time
Tempo: Allegro con brio ed appassionato
BPM:
= 130
The Maestoso introduction sounds more like earlier Beethoven, with sudden contrasting dynamics. Many of the big gestures in this opening are of an unresolved and dissonant nature as well. Some of the bass note intervals towards the end of this intro are quite interesting choices from the composer, with very close and uncomfortably intervals.
In do enjoy the main theme of the first movement, which is an angular and jagged three-note idea of the note 'C', up to 'E-flat', and back down to 'B natural'. This is a nasty, wickedly wry little motive, one which is ably heard throughout the movement in various iterations. I am not sure I understand the couple of rallentandos Beethoven throws in, breaking up what would otherwise be a motoric Baroque movement.
The start of the development sections sounds like a tiny contrapuntal area, quickly abandoned, although Beethoven is really into sounding Baroque to my ears.
Really this is a fun movement from Beethoven all in all, no doubt aided by his beloved C-minor key. The movement almost sounds a precursor to Liszt, so devilish is its nature. Truthfully, I wish it were longer.
Key: C Major
Meter: 9/16
Tempo: Adagio molto semplice e cantabile
BPM: ♪. = 40
How does Beethoven end his last piano sonata? With a theme and variations of course, although this one is dissimilar to others, at least to my ears.
The compound time signature is odd, especially with Beethoven choosing the semiquaver as the subdivision. Using the relative C-Major key is quite a choice too, with a boding sense of calm in the hymn-like opening. Also, compared to the first movement, this second-movement theme and variations is really long, unbalancing the work to some degree.
After the first variation, which links to the calm of the beginning, the music shifts to a dotted skipping rhythm which pervades the next few areas of variation, done so with increasing rhythmic and pianistic activity. If I am reminded of Ragtime from time to time, I am sure it is something conjured in my mind from Beethoven's syncopations.
A very quiet section of variations makes way for an area filled with trills. At one point, I think the pianist is asked to play three trills at the same time, all the while still having to keep other musical lines going. I mention this trill portion as well because it links to a short visit to the piano sonata's home key of C minor, something this movement hasn't been very interested in. One might also detect echoes of the herky-jerky motive from the first movement in the bass too, riding among severe chromaticism.
This last movement is titled as an aria, a term I really feel from here on out to the end of the movement. Kovacevich builds and builds in this last section, fully fleshing out a few more unexpected sforzandos towards the end.
Is this how I would imagine Beethoven ending a series of piano sonatas. Probably not, but the composer never really traveled the path of the expected anyway. Beethoven's love of the Baroque and quiet moments in his late compositional period still get their play here, so at least he stays true to himself.
11 Bagatelles, op. 119
6 Bagatelles, op. 126
I won't cover Beethoven's bagatelles the same way I did his sonatas. Firstly, I am less familiar with these solo piano pieces, but also there are so many of them here.
If you are unfamiliar with the term bagatelle, the word references their small proportions and light, carefree mood. Essentially, they are tiny musical amuse-bouche of great clarity. Many are lighthearted, more focused on easy-going binary and ternary forms than anything of great length or depth. Some might be caught off guard by their simple textures and friendly bearings, especially considering their late opus numbers.
As I understand it, the Op. 119 Bagatelles were written over the decades from sometime after 1800 until their later opus number. Some consider the sixth bagatelle (op. 119) the finale of a smaller set of 6 within this set of 11, while the final five make up their own mini set. Certainly, this sixth piece is much different, thus serving as a finale quite well.
Whereas the Op. 119 bagatelles could time as long as two minutes, they could also be as short as ten seconds in length. I can't say I have explored Beethoven as a miniaturist, but maybe it is time I do. The Op. 126 Bagatelles on the other hand are consistently 2 - 3 minutes each, making them just a little meatier than their precursors. They seem to also have a little more virtuosic flair with a few more jaunts of harmony than he afforded the earlier ones.
I like to view these Bagatelles as small character portraits for solo piano. Indeed, the bagatelles usually swing back and forth between rough outgoing and lyrical singing qualities. I am not sure Stephen Kovacevich fully explores the characteristics of these pieces, keeping the caricatures without much in the way of exaggeration, or dare I say, even a smile. He leaves me wanting a little more sparkle out of these two sets of Bagatelles, although one can't argue his abilities here. Perhaps he is speaking to their small scale and scope.
Work Series
Vol. 9 from Beethoven Piano Sonatas on Warner
Works
Piano Sonata 32 in C minor, op. 111 (26.04)
11 Bagatelles, op. 119 (13.18)
6 Bagatelles, op. 126 (16.58)
Soloist
Stephen Kovacevich, piano
Label: EMI / Warner
Year: 1992-2001; 2017 (set)
Total Timing: 57.08
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