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Beethoven
August 27. Symphony 9 in d, Op. 125 (1824). August 19. Fidelio Overture, Op. 72 (1814). August 19. Leonore 3, Op. 72b (1806). August 19. Leonore 2, Op. 72a (1805). August 19. Leonore 1, Op. 138 (1805)....
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Beethoven – Piano Sonata 1 in f, Op. 2/1 (1795)
In his exceptional analysis, pianist András Schiff explains that, although Beethoven took very little from Mozart, he took much from Haydn, in particular how to build a work from small cells, and how...
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Beethoven – Piano Sonata 14 in c♯, Op. 27/2 (1802)
The first movement of this sonata is marked alla breve, requiring a slow two, not four, in the bar, and “without damper,” implying depression of the damper pedal throughout. András Schiff, to...
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Beethoven – Piano Sonata 15 in D, Op. 28 (1801)
The notable features of the opening movement of this sonata are the much-favoured same-note ostinato (here perhaps presaging the violin concerto, Op. 61, in the same key), the progressive reduction of...
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Beethoven – Piano Sonata 3 in C, Op. 2/3 (1796)
Pianist András Schiff, in his analysis, reminds that music is ‘about expectation and surprise;’ and, points out, in this sonata, the continuity of Beethoven’s thought (in this case, to Op. 73), the...
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Beethoven – Piano Sonata 27 in e, Op. 90 (1814)
Last July, I revisited the 1932-37 recordings of the Beethoven piano sonatas by Artur Schnabel. Schnabel, a consummate musician renowned for his intellectual incisiveness, was the first pianist to...
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Beethoven – Piano Sonata 29 in B♭, Op. 106 (1818)
This work, with its firm and certain compound of optimism, tenderness, melancholy, and assertion, was a favourite of mine when I moved to Peace River in 2011. It must have been the river, which I saw...
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Beethoven – Piano Sonata 30 in E, Op. 109 (1820)
This sonata has travelled with me since January of 1966, when I purchased, in Ottawa, Glenn Gould’s Columbia LP of Opp. 109, 110, and 111. His interpretations of all three remain, to me, essentially...
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Beethoven – Piano Sonata 31 in A♭, Op. 110 (1821)
The second of the three last piano sonatas, with continued references to Es ist vollbracht from Bach’s Johannes-Passion. There is exceptional, reflective beauty in the opening cantabile movement, and...
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Beethoven – Piano Sonata 32 in c, Op. 111 (1822)
Beethoven never repeats himself, insists András Schiff. And adds that this sonata is “one of the wonders of mankind.” It moves, and moves one, in a kind of exaltation, to borrow the word from Anton...
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Notes in Common Time, after András Schiff, on the Piano Sonatas of Beethoven
Piano Sonata 32 in c, Op. 111 (1822). The CulturalRites article is here. Piano Sonata 31 in A♭, Op. 110 (1821). The CulturalRites article is here. Piano Sonata 30 in E, Op. 109 (1820). The...
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Beethoven – Piano Sonata 1 in f, Op. 2/1 (1795)
In his exceptional analysis, pianist András Schiff explains that, although Beethoven took very little from Mozart, he took much from Haydn, in particular how to build a work from small cells, and how...
View ArticleClik here to view.
Beethoven – Piano Sonata 14 in c♯, Op. 27/2 (1802)
The first movement of this sonata is marked alla breve, requiring a slow two, not four, in the bar, and “without damper,” implying depression of the damper pedal throughout. András Schiff, to...
View ArticleClik here to view.
Beethoven – Piano Sonata 15 in D, Op. 28 (1801)
The notable features of the opening movement of this sonata are the much-favoured same-note ostinato (here perhaps presaging the violin concerto, Op. 61, in the same key), the progressive reduction of...
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