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| Julius Schmid (1854–1935): Ludwig van Beethoven beim Spaziergang in der Natur. Gemälde. The painting was used as cover art for The Etude magazine in February 1909. |
Beethoven: The Complete Works (80 CD). Warner Classics / © 2019 Parlophone Records Limited. Also available on Spotify etc. I bought my box set from Fuga at Helsinki Music Centre.
Ludwig van Beethoven 1770–1827.
Beethoven 250 / corona lockdown listening.
From: CD 20/80 Piano Sonatas Nos. 12–15
Stephen Kovacevich, 1999 (Nos. 12–14) and 1998 (No. 15)
Opus 28: Klaviersonate Nr. 15 in D-Dur „Pastorale“ (1801)
Grande Sonate pour le Pianoforte.
Joseph Edlem von Sonnenfels gewidmet.
1. Satz: Allegro, D-Dur, 3⁄4, 461 Takte
2. Satz: Andante, d-Moll, 2⁄4, 99 Takte
3. Satz: Scherzo, Allegro vivace, D-Dur, 3⁄4, 94 Takte
4. Satz: Rondo, Allegro ma non troppo, D-Dur, 6⁄8, 210 Takte
The title "Pastorale" was given without consulting the composer, but he did not object to it.
AA: "The sonata is an essentially dramatic art form, combining the emotional range and vivid presentation of a full-sized stage drama with the terseness of a short story", wrote Donald Tovey, but after several pathbreaking sonatas, Opus 28: Klaviersonate Nr. 15 in D-Dur, is a kind of a reset, a breather. There is nothing revolutionary here, no mountain tops, no thunderstorms, no heroic adventures.
Among Beethoven's symphonies, the even numbers are often such breathers, and I have a particular fondness for them, because they are not played to death, yet they are as wonderful as the most famous ones when you get to know them.
In the continuum of Beethoven's piano sonatas, the distinction of Nr. 15 is the absence of drama. It offers a full experience of being without showy external effects.
The year 1801 was Beethoven's most active in piano sonatas. He composed four in one year, and the D Major sonata was the last of them. It is a genial piece, displaying some of the same moods as the sunny Second Symphony and the lovely Spring Sonata for violin and piano (Op. 24), both also from 1801.
The D Major sonata is very laid back, avoiding drama and contrast. Melodically, it is enjoyable light entertainment, and the depths of the experience emerge from the sonority. Joachim Kaiser called it "idyllic and generous", "in medium style" but not mediocre, about identity and moving forward.
The Andante was Beethoven's own favourite movement among his piano sonatas, and for years he loved to play it among friends. There is a special joy of improvisation and sense of play in some of the passages. There are parallels to the freedom of jazz. It is a funeral march performed as a dance tune.
The sonata continues in a humoristic mood, and the leisurely atmosphere changes only in the rousing finale where the pianist has the opportunity to take us by surprise.
I listened to various interpretations, including Stephen Kovacevich (immaculate), Artur Schnabel (takes shortcuts), Wilhelm Kempff (halting), Vladimir Sofronizki (good), Emil Gilels (too slow), Igor Levit (brilliant) and Grigori Sokolov (profound).
András Schiff in his inspired Guardian Lecture finds that the title "Pastorale" "can be excused" and finds here many similarities with the Pastoral Symphony: "mehr Empfindung als Tonmalerei". In the opening "timpani strokes" he recognizes an affinity with the beginning of the Violin Concerto. The form is conventional, but "the sound world is revolutionary", it sounds like Schubert, "all these inner voices", "like a murmuring forest". Beethoven "always wanted the piano to sing and speak". Schiff also analyzes Beethoven's methods of foreshortening and inversion in recurrent motifs. In the Andante Schiff observes the contrast to the Moonlight sonata with its emphatic use of pedals. Here it is ostinato sempre staccato. In the third movement, the Scherzo, Beethoven composes four different ways to harmonize a very simple menuet theme. The fourth movement, the Rondo, begins with a "swinging bagpipe drone", from which the piano proceeds to express the impact of a whole orchestra playing. The Bachian development section foreshadows the late Beethoven. The simple music is intricately polyphonic, with a wonderful chromaticism. The brilliant coda is very difficult to play, "to annoy the amateurs".
Ludwig van Beethoven: Magnificent Master
https://web.archive.org/web/20151207110527fw_/http://www.raptusassociation.org/index.html
Beethoven's Piano Sonatas
https://web.archive.org/web/20150924084747/http://www.raptusassociation.org/sonindexe.html
http://digitalcollections.sjlibrary.org/cdm/search/searchterm/Portraits%20Beethoven%20Full%20figure/mode/exact/page/2
https://www.beethoven.de/en/archive/view/6559862288809984/Beethoven+playing
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