Featuring in 'What is this?'

Opus 54

Every composer and especially the composer who elevated the Piano Sonata to the extend as Beethoven did has his minors and what can you do between a Waldstein and an Appassionata? 

Beethoven, who would have featured in a 'Who is Who' of his day, apparently was doing his best to feature for once in a 'What is this?' of his day.

If there is one Sonata, which has marks of being unfinished it is this Sonata in F. Not at all like Sonata opus 90 which also only has two movements, but feels very complete.

Perhaps the whole situation is explained by the fact that Beethoven had problems with his publishers at the time, because he had felt he could decide to get into business with an English publisher, without consulting his own publisher? So this Sonata should not have been published at all? Or was Beethoven so desperate for money that he had thought: 'Well, what do the English know about music?' anticipating Leonard Bernstein on the matter, 'The English don't appreciate music, but they do like the noise'. 

Perhaps Beethoven was taking a joke after several years of teaching Carl Czerny? 

Because in the need for explaining this Sonata in the end all one can do is claiming that it is a statement of Beethoven's humour! But nowhere like Opus 14 no. 2's second movement, which leaves me rolling over the floor with laughter. This sonata leaves me only wide eyed. 

Good all right! Beethoven was fed up with Sonata form and the traditional Sonata model. Nothing wrong with that. Because everything Beethoven does must have the explanation suited for a genius.

But I keep at it that Beethoven just had a bad hair day! 

Or he was indeed giving a statement on mediocre composers. If you like Carl Czerny. Because it is known indeed that Beethoven did do that also in public to air his opinion about a Piano Novelty of some new performer or composer. 

But it should have stayed at that. An improvisation after a concert to have some pun intended by the composer at the top of 'Who's who'. It should never have reached the printing press. 

It's not for the Minuet theme of the first movement which is delightful. If it would have been a Minuet!
Alas I admit. The variations on the Minuet theme are delightful too. In the recording given below, do notice the syncopations in the variations of the theme. They are amazingly 20th century. 

If someone seriously disagrees with me and finds this Sonata in a Recital programme that does not feature all of Beethoven's Sonatas, but only one Beethoven Sonata, I would be so grateful to know about it.

Even Andreas Schiff!

But let's us give this Sonata a hearing from the best contemporary performer and one at that who will not share my opinion. 'There are no weak links' in Beethoven's Sonatas he believes in the lecture recitals. Do notice his referral to Joseph Haydn to understand this Sonata.

Lecture on Opus 54 by Andreas Schiff

Waldstein (2)

Opus 53

In 1991 the young Beethoven wrote a Ballet for Count Waldstein, which he allowed the count to pass off as his own. It was only discovered in the 20th century that the young Beethoven was the author. But let us go back to the 2nd movement of the Waldstein Sonata. 

The second movement which is in Opus 53 now was not in the Sonata when it was first published. It must have been important for Beethoven to have changed it afterwards and the world should be grateful for it, because I think it is the most beautiful and bold slow movement of all his Sonatas. It is actually not a movement in contrast to the first version. It is only an introduction to the last movement.

With slow, first of all is meant slow. Really slow! There is no note too many and the shortness of it as a prelude to the final movement is the most courageous thing Beethoven has ever done. Well, apart from Hammerclavier.

Watch that Base line! Chromatically down from F to C. But of course the most important thing in the Waldstein Sonata is the Leitmotiv..

The density of the motif is enormous in the next couple of bars!

Everything that is exceedingly beautiful is also exceedingly simple. From the start in F and from there in an amazing way to the Dominant of the key of the last movement C major. Which means that the 'Schenker' meaning of the 2nd movement is soley Subdominant - Dominant. 

A Rondo! Beethoven has made up for all the rondos which weren't rondos. Beethoven wrote the mother of all rondos here in the Waldstein. 

The slow buildup stands miles above the ninth symphony, but yet only few know this theme. Even the Waldstein Sonata is always associated with the first movement. But for me the Waldstein Sonata is the last movement. It is long and Beethoven has taken all time he had to build this Rondo up towards the end. I like to increase the dynamics with every new cycle and until the last two pages I think Beethoven has reached perfection! 

And then I am with shock brought to the earth again. Because the last two pages aren't perfect at all! What on earth was Beethoven's intention with these last two pages? Had the Leitmotiv lost its spell? Or had the Sonata to be rushed to the publisher? Who perhaps only saw the last two pages and returned it? 

We will never know. Perhaps my technical abilities just couldn't cope with it?!

Listen for yourselves. 

Daniel Barenboim Waldstein Movement 3