28 January–17 February 2008
A L I F E T I M E O F E X T R A O R D I N A RY A C H I E V E M E N T A N D D E D I C AT I O N T O M U S I C
Discover more great recordings by Daniel Barenboim at www.warnerclassicsandjazz.com
T h e P i a n i s t O n Wa r n e r C l a s s i c sDANIEL BARENBOIMDANIEL BARENBOIM
Marketed and distributed by Warner Classics and Jazz UK. A division of Warner Music UK. Warner Music UK Ltd, Warner Classics and Jazz, Griffin House, 3rd Floor, 161 Hammersmith Road, London W6 8BS.
Telephone: 020 8563 5241 Fax: 020 8563 6226. www.warnerclassicsandjazz.com
W0442_Pianist 14/12/07 3:51 pm Page 1
“MUSIC LIES AT THE HEART OF OUR UNDERSTANDING OF WHAT IT IS TO BE HUMAN.” DANIEL BARENBOIM
Discover more great recordings by Daniel Barenboim at www.warnerclassicsandjazz.com
T h e C o n d u c t o r O n Wa r n e r C l a s s i c s
Marketed and distributed by Warner Classics and Jazz UK. A division of Warner Music UK. Warner Music UK Ltd, Warner Classics and Jazz, Griffin House, 3rd Floor, 161 Hammersmith Road, London W6 8BS.
Telephone: 020 8563 5241 Fax: 020 8563 6226. www.warnerclassicsandjazz.com
DANIEL BARENBOIMDANIEL BARENBOIM
W0442_Conductor 14/12/07 4:04 pm Page 1
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For more information about EuroArts, please contact:UK: Select Music, 3 Wells Place, Redhill, Surrey, RH1 3SL Phone: +44 (0)1737 645600 Fax: +44 (0)1737 644065 Email: [email protected]
USA: Naxos of America Inc., 416 Lindsay Polk Drive, Suite 509, Franklin TN37067 Phone: +1 615 771 9393 Fax: +1 615 771 6747
DANIEL BARENBOIMBEETHOVEN PIANO CONCERTOSLive recording from the Klavier-Festival Ruhr, May 2007
To celebrate Daniel Barenboimʼs 65th birthdayEuroArts is delighted to present this new completecycle of Beethoven's piano concertos. Barenboimʼsperformances of Beethovenʼs masterpieces havebeen a key part of his repertoire throughout hiscareer, especially with his orchestra theStaatskapelle Berlin.
“Daniel Barenboim is one of the fewmusicians in the world today who couldaccurately be described as legendary. ”The Times
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Daniel BarenboimTHE LISZT RECITALLive recording from the Teatro alla Scala, Milan, May 2007
In this spectacular musical eventBarenboim gracefully melds thetechnical and poetic aspects of someof the most rewarding of all Romanticpiano works. As an interpreter ofLiszt, Barenboim has a passion andcolouristic approach to the musicthat is ideal and offers an evocativerendering of these piano works.
Daniel BarenboimTANGO ARGENTINARecorded live in Buenos Aires, December 2006
In this incandescent performance DanielBarenboim joins bandoneon virtuosoLeopoldo Federico and his Orquesta Típicato present an extraordinary show withpopular tangos and Latin American classics.
“This is a fun thing: Daniel Barenboimcaught in his home city…leading aconcert of electrifying tango music” Classic FM Magazine
Daniel Barenboim50 YEARS ON STAGERecorded at the Teatro Colón, Buenos Aires, August 2000.INCLUDES DOCUMENTARY.
This programme includes favouritepiano works by Beethoven, Mozartand Albeniz and presents no less than 13 encores by Chopin,Schumann, Villa-Lobos, Scarlatti to name just a few.
“This is a must-have for all Barenboim admirers” BBC Music Magazine
DANIEL BARENBOIM ON EUROARTS
Recent Release
Recent Release
euroarts ad:Layout 1 11/12/07 12:14 Page 1
�
Daniel Barenboim Beethoven Sonata Cycle ROYAL FESTIVAL HALL
4 The concept of Artist as Leader
JudeKelly
5 An appreciation of Daniel Barenboim
MichaelKennedy
6 Barenboim and Beethoven
MarshallMarcus
8 An introduction to Beethoven’s Piano Sonata Cycle
WilliamKinderman
Programme notes:
9 Monday 28 January
11 Sunday 3 February
1� Monday 4 February
15 Wednesday 6 February
18 Saturday 9 February
20 Monday 11 February
22 Friday 15 February
24 Sunday 17 February
26 Artist as Leader talks
27 Daniel Barenboim biography
Daniel Barenboim © WMI Riky Davila
PresentedbySouthbankCentreinassociationwithAskonasHolt.
DanielBarenboim’sBeethovenPianoSonataCycleisgenerouslysponsoredbyDLAPiperUKLLP(Wednesday6Februaryperformance)andClaridge’s.
4 5
L oremipsumdolorsitamet,consectetuer
adipiscingelit.Nuncauctorcommodo
lorem.Morbielitleo,tristiquevel,euismod
a,ullamcorperac,elit.Nuncdictumturpisnonerat.
Proinurna.Duisegestas.Maecenasutlacusatipsum
mollisultricies.Aliquamhendrerit.Nuncaugueodio,
elementuma,commodonon,ornaresitamet,libero.In
dolorerat,conguenon,laciniavitae,laoreetscelerisque,
sem.Maecenasdictumtinciduntmetus.
Namturpisdolor,imperdiettempus,ullamcorpervel,
pulvinarsed,odio.Sedpede.Nuncsodalespretium
sapien.Donecdignissimaccumsanlorem.Fuscepurus
enim,iaculisin,condimentumvel,tinciduntvel,purus.
Donecfeugiat,nibhagravidaimperdiet,ligulametus
pellentesquequam,nondapibussapienestvulputate
lacus.Vestibulumvitaejusto.Pellentesquemollis
massavellorem.Aliquamamagna.Cumsociisnatoque
penatibusetmagnisdisparturientmontes,nascetur
ridiculusmus.Pellentesquedapibus.Fuscesemper
semperpede.Suspendisseenimlacus,mattisquis,
facilisissed,gravidanec,nunc.Pellentesquediam
ipsum,eleifendin,euismodat,sempereu,urna.Mauris
nuncarcu,suscipitid,eleifendnec,volutpatconvallis,
diam.Donecmalesuadadignissimest.Etiamrhoncus,
sapiensedtempusbibendum,felistortorpulvinarest,
nontinciduntpurustortorutaugue.Curabiturdiam
tortor,suscipittristique,convallismattis,conguequis,
justo.Aeneanvelnibhveltellusmolestiehendrerit.
Suspendisselobortisnisialiquetlorem.Nullameusem.
Aeneanenimaugue,consequatsodales,imperdietnec,
dignissimid,erat.Praesentsedpede.Ingravidamagna
aerostinciduntultrices.Fuscepulvinarmolestienulla.
Vestibulumutipsum.Etiamfeugiatrhoncusvelit.Proin
arcuurna,iaculissollicitudin,euismodvel,commodo
semper,metus.Aeneanfacilisisegestassapien.
Crasacvelitatmiaccumsantristique.Donecetligula.
Vestibulumeleifend.Maecenasnonturpisetquam
vulputateiaculis.Vivamustempusduiaarcu.Quisque
nonliberositametleotemporelementum.Mauris
laciniaornaremagna.Etiamelementumvestibulum
mauris.Fuscebibendum.Donecnisisapien,scelerisque
quis,variusa,cursusid,lorem.Aeneanatortoretsem
ultricespretium.Inquisnisivitaefelisfeugiathendrerit.
Proinjustonunc,convallisquis,cursusquis,viverraa,
dui.Sedmolestiebibendumorci.Fusceacelit.
Sednecveliteujustoegestaspretium.Integerat
leovelnislfaucibuspretium.Praesentsollicitudin
justoacmagnavenenatistincidunt.Utdiam.Etiam
ullamcorpersapiennecleo.Sedpedemi,pellentesque
non,venenatiseu,faucibusegestas,ipsum.Nam
consectetueraliquetenim.Nuncturpis.Inidnislinfelis
fermentumconsequat.Etiamidrisusaleovolutpat
consequat.Aeneanaccumsanelitnonaugue.Curabitur
mattisvestibulumodio.Namrisuslorem,porttitorat,
viverraet,porttitortempus,neque.Quisquelacinia
convallispede.
the concept of artist as leader
Jude Kelly, Artistic Director, Southbank Centre
A lthoughDanielBarenboimhasneverheldan
officialpositioninBritishmusicallife,his
associationswiththiscountryaresomanyand
sostrongthathehascometoberegardedas‘oneof
us’.Hisautobiography,oneofthebestbyamusician,
iscalledA Life in Musicandtherecouldbenomore
apttitle.Thatlifebegan65yearsagoinBuenosAires
wherehemadehisdebutasapianistagedseven,
includingapiecebyProkofievinhisrecital.Ayearlater
hewassoloistwithanorchestrainMozart’sConcerto
K.488.Histeacheruntilhewas17washisfather,to
whomtheRussianconductorIgorMarkevichsaid‘Your
sonplaysthepianowonderfullybutIcantellfromthe
wayheplaysthatheisreallyaconductor’.Barenboim
seniorhadtaughtDanieltoplaywiththesoundofthe
orchestrainhismind.AfterthefamilymovedtoIsraelin
1952hisdevelopmentasawunderkindwasrapid.
HisEnglishdebutwasinBournemouthin1955andin
January1956hefirstplayedinLondon.Henceforthhe
becamearegularvisitortotheseshores,playingall
theBeethovensonatasinLondonin1967.Now,just
over40yearsafterthatfirstcycle,hereturnstothese
challengingmasterpieces,inalltheirinfinitevariety,to
giveustheinsightsgarneredinhisastonishingcareer.
BarenboimtookupconductinginIsraelin1962and
madehisEnglishdebutintheroleofconductor-soloist
in1965withtheEnglishChamberOrchestra.Two
yearslaterheconductedtheNewPhilharmonia,now
thePhilharmoniaOrchestra,inMozart’sRequiemat
SouthbankCentre’sRoyalFestivalHall.
Itisimpossibleinashortarticletodojusticetoallthe
facetsofthisversatileandmulti-talentedmusician,
butmentionmustbemadeofBarenboim’scouragein
breakingdowntaboosinhisbeliefthatmusichasthe
powertobeagreathealerandunifier.Forexample,
heconductedmusicbyWagnerinIsraeldespitethe
unofficialbanandtheviolentoppositionhisactions
aroused.Hepointedoutthatmanyoftheprotesters
hadtheRide of the Valkyriesastheringtoneontheir
mobiletelephones.Andin1999,collaboratingwith
thecontroversialPalestineapologistEdwardSaid,
hefoundedtheWest-EasternDivanWorkshopand
OrchestrainwhichyoungJewishandArabmusicians
playedalongsideeachotherinamityandaspiritof
reconciliation.Nevertheless,heiscriticalofmany
featuresofIsraelipolicy.
Ashisautobiographyreveals,heisadeepthinkerabout
allaspectsofmusic,technicalandintellectual,without
everbecomingacademicandincomprehensible.His
writingisinformedbythehumanity,warmthand
breadthofvisionwhicharesoevidentinhismusic-
making.Heisanever-welcomevisitortoLondonand
thebestowalonhimoftheGoldMedaloftheRoyal
PhilharmonicSociety(seepage10),especiallyin
viewoftheSociety’slinkswithBeethoven,further
strengthensthebondsbetweenBritainandthis
extraordinarymusicianofourtime.
an appreciation of daniel barenboim
Michael Kennedy, music critic and biographer
Royal Festival Hall © Richard Bryant/arcaid.co.uk Daniel Barenboim in 1952. Private Collection.
6 7
Barenboim and beethoven Marshall Marcus, Head of Music, Southbank Centre
Marshall Marcus:Whatmakesyoukeepreturning
tothe32Beethovenpianosonatas?
Daniel Barenboim:I’vebeenplayingthesonatasforabout
47years.TheBeethovenpianosonatasarelikean
artisticdiary,likeajournal.Thereishardlyanother
outputfromanycomposer,inanyform,thatgives
suchaclearpictureofacomposer’sdevelopmentand
transformation.Thepianosonatasaremuchmore
important,fromthatpointofview,thanthesymphonies
–notonlybecausethereare32ofthem,butbecause
ofthefactmanyofthemcomeingroups,andthereis
someconnectionbetweenthem.
MM:Doesthisconnectionmeanaudiencescomingtoall
eightconcertswillhaveamorecompleteexperience?
DB:Comingtoalltheconcertsismorethanthesumof
theparts.Noquestion.Butforthosewhodon’tcometo
themall,I’vetriedtomakeeachprogrammehaveakind
ofsynthesis.Eachprogrammehasalatesonata,where
thereisone,amajorearlysonataandamiddleone.In
acertainway,partofmeissorrythatIdon’tplaythem
inchronologicalorder,becausethatwouldhavereally
giventhejourneyitsfullmeaning–buttheprogrammes
arereallynotwellbalancedwhenyoudothat.
MM:The32sonatascertainlyshowBeethoven’s
musicaltransformation,asdohiscollectionofstring
quartets.Hislatequartetsseemtohavealevelof
revolutionaryprofundity–doyouthinkthelatepiano
sonatassharethis?
DB:Op.111definitely.Itisvery,verydifferent.This
wholequestionoflatestyleisaveryinterestingtopic.
EdwardSaid’swonderfulbookOn Late Style,addresses
preciselythisissue:theideathatwithage,people
mellowandaremorepronetoacceptcompromise,they
arelessagitated.Onethingisclear,though,whichis
thatBeethovencertainlydidnotbecomeamellowold
person.Onthecontrary,thelatestyleofBeethoven
thatyouseeintheNinthSymphony,inOp.111andinthe
lateQuartets,iswherethecontinuityoftheargument
isdisrupted.ThefirstmovementofOp.111isoneclash
afteranother–itisthemostangularwork,froma
structuralpointofview.
Intheend,youcannotspeakofthecontentofthepiano
sonatas–thecontentcanonlybearticulatedinsound.
Wehavetolearntothinkwithsound,andinsound.
Thisiswhytheonlydefinitionofmusic,thattomy
mindiscorrect,thatspeaksaboutthemusicitself
andnotourreactiontoit,isBusoni,whosaiditwas
‘sonorousair’.Butwhathappenstosound,andin
whatcombinations,forittosuddenlyassumea
metaphysicaldimension?Wespeakaboutlatestyle,
disruption,despairandsensualityallbecausea
physicalphenomenonhasthataffectonus.Ithinkitis
veryimportanttorememberthatweunderestimatethe
poweroftheearandtheintelligenceoftheear.
Themagicofmusicwillonlyworkifeverybodyopens
theirearsmore.Youcannotrecreatesomethingthat
hasbeen.Thatisthemostwonderfulthingaboutmusic.
Intheend,andthemostenervatingthing,isthat
nothingthatyoudotodaywillbetheretomorrow,but
youhavemoreknowledgehopefully.
MM: Doyoufeelmusicianshaveadutyandresponsibility
toeducatethepublic,andspread
thewordofthepowerofmusic?
DB:Ithinkanybodywhohasanycareforculture–for
man’sabilitytothinkandfeel–hastooccupyhimself
withthisissueofeducation.Youlearnsomuchfrom
music.Youcannotlearnmusiconlywithpassion,you
cannotlearnmusiconlywithdiscipline.Youlearn
frommusicthateverythingchangeswithtimeand
thatnothingisreallyperfectlyrepeatable.It’saway
ofperceivingtheworld,butalsomusicgivesusthe
instrumenttoforgettheworld.
O falltheepithetsemployedduringthelast
200yearstoevokeBeethoven,theshort
word‘giant’isperhapsthemostfrequent,
andcertainlyoneofthemosttelling,encapsulating
themonumentalaspectofBeethoven’soutputwhen
consideredasawhole.Thesymphoniesarerightlytaken
astheessentialtokensofhisheroicandrevolutionary
side,andthelatestringquartetsasoneofthegreat
examplesoffar-sighted,evenprophetic,writing;yet
the32pianosonatashaveaninalienableprimacyabout
themthatmakesanycompleteBeethovenpianosonata
cycleimmediatelynotableasanevent.
AsDanielBarenboimcommentedinaninterviewwith
melastsummer[seepage7],thesonatasareoneof
thegreatestartisticdiariesofanycomposer,
representinganalmostcompletecatalogueof
Beethoven’sdevelopment.Butthereissomething
else,too–anelementalalmostmythicqualityinthe
spectaclethatsuchacyclepresents.Alonefigure
onstagewithasinglemusicalinstrument,returning,
inthiscase,oneightseparateoccasionswithina
matterofweeks,todelivertheentireopus.Thereis
atimelessqualityherethatisakintoShakespeare,
orevenBeckett.
Enteringanarenaofsuchepicproportionswithnot
justrelativeconfidencebutwithabsoluteauthorityis
aprerequisite,andoneofthegreatchallengesforany
pianist,foranymusician.Thestruggleinherentinall
Beethovenisitselfpresentintheveryperformingofthe
series,anditisherethattheentirelyspecialnatureof
hearingDanielBarenboimperformthecycleisevident.
Barenboimisutterlyalivetotheconstantaspectof
struggleinBeethovenandwecanexpectprofound
musicalinsightsinhisperformances.Hismassive
experienceinperformingandrecordingentirecycles
ofnotonlythepianosonatas,butalsothesymphonies
andthepianoconcertos,alliedtohisexceptional
fluencyinperformance(analmostarrogantease)give
anycyclethatheperformsacertainpatricianquality.
Theexpectationinthecaseofthisseriesisheightened
byapalpablesenseofreturn:thiscyclemarksDaniel
Barenboim’sfirstappearanceatRoyalFestivalHall
sincetheHall’sreopeninginthesummerof2007–
areturntothestagethathefirstgracedasa13-year-
oldhalfacenturyago,afewyearsafteritsopening,
whichbecamehis‘home’forasignificantperiodoftime.
BarenboimandBeethoven:twogiantswhoseemto
belongtogether;artistswhosegreatmusicisitself,
interestingly,onlyapartofwhattheyrepresentas
humanbeings.Itiswithacertainappositeness,
therefore,thattheseconcertsformthefirstseries
inSouthbankCentre’s‘ArtistasLeader’programme,
andthatDanielBarenboimappearsasthefirst
‘ArtistasLeader’atSouthbankCentre.
Read an extract from Marshall Marcus’ interview with Daniel Barenboim on page 7.
76
Painting of Ludwig van Beethoven by Joseph Karl Stieler (1820).
8
t he32sonatasforpianofromBeethoven’s
maturityrepresentanunparalleledmusical
achievement.Itwasinthepianosonatathat
Beethovenfirstrevealedthefullexpressiverangeand
powerofinventionthathewastodemonstrateonly
yearslaterinsomeothermusicalforms.Inviewofhis
formidablemasteryoftheinstrument,itislittlesurprise
thatBeethoven’spianosonatasremainedavehiclefor
hismostadvancedideasthroughouthiscareer.
DuringhisfirstdecadeinVienna,from1792-1802,
Beethovencomposed19pianosonatas,uptoand
includingOp.31,andthetwoSonatasOp.49.What
standsoutisthehighdegreeofindividualityofthese
pieces:nooneislikeanother.Intheirbroadscaleand
structuralgrandeur,theearlysonatasshowsignsof
asymphonicambition.Characteristicishisfrequent
useofthefour-movementformthenassociatedmore
withsymphoniesorquartetsthanwithsonatas;each
oftheSonatasOp.2,aswellasseverallatersonatas,
adoptthisframework.AnothertendencyisBeethoven’s
incorporationintohissonatasoffantasy-likeelements,
remindingusofhisimpressiveabilitiesinimprovisation.
Theunfoldingofthesepiecesoftenconveysavivid
psychologicalnarrative,asatthebeginningofthe
PathétiqueSonata,Op.13,wheretheopeningbrooding
melancholyyieldstotumultuousresistanceinthe
Allegro.Inthesecondofhis‘fantasy’sonatasofOp.27,
theso-calledMoonlight Sonata,theentirefinale
representsafierceintensificationofelements
drawnfromtheplacidopeningmovement.
Afascinatingimprovisatoryopeningtoaworkisheard
intheTempestSonata,Op.31No.2,withitsslowbroken
chord,veiledinpedalandsuspendedoutsideoftime.
Therecitativethatlateremanatesfromthisgesture
opensauncannydimension,withspeech-likeaccents
foreshadowingthebaritonerecitativeintheNinth
Symphony,written20yearslater.
Followinghiscrisisoverhisincurabledeafnessand
duringhisinitialworkonhisoperaFidelio,Beethoven
composedaremarkablepairoflarge-scalesonatas,
theWaldsteinandtheAppassionata.Theseprojects
areindeedrelated:ifFlorestan’scomment(inFidelio)
‘God–whatdarknesshere!’utteredinthedungeon
mightserveascommentaryontheconclusionofthe
Appassionata,thechoraltext‘Hailtotheday,Hailtothe
hour!’attheendofFideliomightalmostbethemotto
forthejubilantcodaoftheWaldstein.Theseparallels
illustrateBeethoven’slifelongtendencytotacklenew
artisticchallengesinhissonatas.
TwomajormonumentsofhislatestylearetheSonata
inA,Op.101,andthegreatHammerklavierSonata,
Op.106.AndinaworklikethefinaleoftheSonata
inAflat,Op.110,withitspairingofdespairingArioso
dolente andaspiringfugue,wewitnessBeethoven
grapplingwiththesamespiritualissuesasinhishuge
contemporaneousproject,theMissa solemnis.Noother
musicalgenrecoversthevastrangeofBeethoven’sart
asfullyasdoeshisinexhaustiblelegacyofsonatas.
an introduction to BEETHOVEN’S PIANO SONATAS
William Kinderman, Professor of Musicology, University of Illinois
Daniel Barenboim with Otto Klemperer, recording Beethoven’s Emperor Concerto with the New Philharmonia Orchestra, 1970. Photo courtesy of EMI.
An expanded edition of William Kinderman’s book Beethoven is out in March 2008 (Oxford University Press). His CD of Beethoven’s Diabelli Variations is out now (Arietta Records).
claridges.co.uk
Barenboim 12.07:Bafta programme_12.04.qxd 18/12/2007 15:57 Page 1
10 11
Beethoven: Sonata No.29 in B flat, Op.106 (Hammerklavier)
(i) Allegro
(ii) Scherzo: Assai vivace – Presto – Tempo I
(iii) Adagio sostenuto
(iv) Largo – Allegro – Prestissimo – Allegro risoluto
SixteenyearsafterwritingtheSonatainEflat,
Beethovenbrokeoutofamajorcreativeimpassewith
thecompositionofthegrandestofallhissonatas,the
so-calledHammerklavier,in1818.Beethovendescribed
thisworkas‘asonatathatwillgivepianistssomething
todo,andthatwillbeplayed50yearshence’–afairly
accurateprediction,sincefewpianiststackledthe
immensechallengesofthisgreatsonatabeforethe
lastdecadesofthe19thcentury.
ThekeyofBminorassumesanextraordinaryrolein
eachmovement,atonalityBeethovenoncedescribed
asa‘blackkey’.Thekeyfunctionslikeafocusof
negativeenergypittedagainsttheBflatmajortonic,
creatingadramaticoppositionwithfar-reaching
consequences.Inthefirstmovement,thisgenerates
animportantclimaxplacedafterthebeginningofthe
recapitulation.Themelodicdetailandharmonicand
tonalprogressionofOp.106mirroroneanotherwith
uncannyprecision,oftenelaboratingchainsoffalling
thirds.Attheclimax,Beethovenplacestheopening
fanfareofthemovementintheremotekeyofBminor,
openingariftintothe‘blackkey’.
ThefollowingScherzoisahumorousyetdarkparodyof
theopeningAllegro,transformingthemotivicmaterial
basedonthirds.Asardonicdimensionsurfaceshere
intheprestopassageconnectingtheBflatminor
triototherepetitionofthescherzo,andagain,even
moretellingly,intheclosingmomentsofthisassai
vivace.Onlythroughatremendousexerciseofwilldoes
Beethovenbringthesubversiveforcesundercontrol,as
18repeateddoubleoctavesbuildinafuriouscrescendo
toabriefclosingrestorationofthetonicBflatmajor.
ThegreatAdagiosostenutomovementthatfollowsis
thelongestslowmovementinBeethoven’swork,an
immensesonataformdescribedbyWilhelmvonLenz
as‘amausoleumofcollectivesuffering’,although
theindicationappassionato et con molto sentimento
pointstowardsasufferingwhichispainfullyalive.In
theensuingslowintroductiontothefinale,Beethoven
distillstheintervallicbasisofthewholesonata,
reducingthemusictoamysterious,underlyinglevelof
contentconsistingofachainoffallingthirdsinthebass,
accompaniedbysoft,hesitantchordsinthetreble.
Thisdescendingchainofthirdsisinterruptedthree
timesbybriefvisionsofothermusic,thelastofwhich
isreminiscentofBach.Themusicthussuggests
asearchtowardnewcompositionalpossibilities,
withtheimplicationthatBaroquecounterpoint
istranscendedherebythecreationofanew
contrapuntalidiomembodiedintherevolutionary
fugalfinaleofthesonata.
Beethovendescribedtheclosingfugueascon alcune
licenze(withsomefreedom)butitisexhaustivein
itscontrapuntalresources.Thistitanicfugalessay
seemsnottoaffirmahigher,moreperfectorserene
worldofeternalharmonies,asinBach’sworks,butto
confrontanopenuniverse.Theoverallnarrativeofthe
Hammerklavier Sonataimpliesaprogressionofheroic
struggleandsuffering,leadingtoarebirthofcreative
possibilities.AfterthepurgatorialAdagiosostenuto,
thereturnofvitalforcesintheslowintroductionto
thefinale,andthefierydefianceofexpressioninthe
fugue,embodyoneofBeethoven’smostradicalartistic
statements,apieceof‘newmusic’amongthemost
uncompromisingeverwritten.
Programme notes by Professor William Kinderman © 2007
Royal Philharmonic Society Gold Medal
Attheendofthisevening’sperformance,Daniel
BarenboimwillbepresentedwiththeGoldMedalof
theRoyalPhilharmonicSociety,inabriefceremony.
TheGoldMedalisaninternationallyprestigioushonour,
initiatedin1870tocommemoratethecentenary
ofBeethoven’sbirth.Itisawardedforoutstanding
musicianshipandhasonlybeenpresentedon92
occasionsduringtheinterveningyears.
Beethoven: Sonata No.1 in F minor, Op.2 No.1
(i) Allegro
(ii) Adagio
(iii) Menuetto: Allegretto
(iv) Prestissimo
ThesonatatrilogyofOp.2,publishedin1795witha
dedicationtoHaydn,isaspringboardtoBeethoven’s
laterachievements.Eachofthethreepiecesare
highlyprofiledindividuals.ThisFminorSonatashows
atersedramaticconcentration.ItsopeningAllegro
isdominatedbyBeethoven’sfavouriteprocedureof
rhythmicforeshortening,wherebyphrasesaredivided
intoprogressivelysmallerunits.Suchforeshortening
contributestotheinexorabledriveofthework.
TheopeningsalvoofBeethoven’sveryfirstsonata
isaclassicexampleofdynamicforwardimpulse
shapedinsound.
ThesecondmovementisaspaciousAdagioin
Fmajor,whichindulgesattimesinornatemelodic
decorationandanalmostorchestralrhetoric.Inthe
followingminuetinFminor,Beethovenplaystricks
withthecadenceinthespiritofHaydnesquewit.
Thebriefopeningsectionoftheminuetisframedby
aconventionalcadentialformulafeaturingamelodic
descendingthirdmotive.Thiscadencefigurelater
reappears,issoftlyrestatedfourtimes,setoffbyrests,
andstubbornlyblockstheforwardmomentumofthe
music.OnlynowdoesBeethovenspringthetrap:the
tensionisabruptlyreleasedandthecadentialmotive
composedoutthroughanentireoctavefortissimo
inbothhands,leadingtoanelaboratedrepriseofthe
minuettheme.
ThePrestissimofinaleisinsonataformofaspecial
type.Intheexpositionandrecapitulation,arpeggios
drawnfromtheopeningAllegrobecomeanagitated
textureintripletssupportingpowerfulchordsinthe
treble.Inthedevelopment,bycontrast,anexpressive
tuneemergesinAflatmajorthatisadornedinmelodic
variations.Thedevelopmentthusbecomesalast
focusoflyricisminthesonatabeforethemusic
re-enterstheturbulentdramaticidiominFminor.
monday 28 january Royal Festival Hall, 7.30pm
Beethoven: Sonata No.18 in E flat, Op.�1 No.�
(i) Allegro
(ii) Scherzo: Allegretto vivace
(iii) Menuetto: Moderato e grazioso
(iv) Presto con fuoco
During1802Beethovenexpressedhisintentiontoseek
anewpathinhisart.Theoriginalqualitiesofthisnew
styleareevidentattheoutsetofthissonatainEflat,
whichsoundslikeacontinuationofmusicthathad
alreadybegun.Itsinitial‘call’figureshavenostable
harmonicsupport;Beethoven’scharacteristicdevice
ofrhythmicacceleration,togetherwithasymmetrical
phrasingandafluctuationintempo,alllendtensionto
thegraciousopeningtheme.Theinitialimpressionof
holdingback,ofhesitation,standsincomplementary
relationtotheirrepressiblerhythmicenergy
characteristicofthissonataasawhole.
ParticularlyinnovativeistheAllegrettovivaceinAflat,
labelledScherzobyBeethoven.Itisatypicalscherzo
neitherinitsmetre(2/4)norinitsform,whichisa
sonatadesignwithoutatrio.Thedefiningqualitylies
initsoverallcharacterofhumorouswitandrhythmic
verve.Thethirdmovement,aminuetwithtrio,isthe
focusoflyricisminthesonata,andadarker,mysterious
dimensionsurfacesthroughapersistentemphasison
Cflat.Inthesecondhalfoftheminuet,thissensitive
pitchoccurstwice,butinthemiddleofthetrioit
appearssevenfold,aspartofaminor-ninthchordon
thedominant.Forafewmoments,themusicisfrozen
onthisstaticdissonance,beforethegracefulmelodic
characterisre-established.
InthePresto,Beethovenrecaptureswithavengeance
thecomic,grotesque,evenparodistictoneofthe
openingmovement.Thereissomethingalmost
mechanicalabouttheopeningfiguration,whichsets
intomotionatarantellarhythmthatdominatesthe
wideexpansesofthissonataform.ThisPrestocon
fuocoispracticallyaperpetuum mobile,butBeethoven
takesspecialcaretoslowthemomentum.Twicethe
musichaltsonfortissimochords,beforeBeethoven
reinterpretsthejocularopeningmotiveinaseriesof
risingsequencesleadingtothepowerfulfullclose.
INTERVAL
12 1�
IntheensuingAndante,Beethovenexploresthe
tensionbetweentheapparentnaivetyofthetheme
anditsreinterpretationinaseriesofvariations,
whichintroducesyncopationsanddissonances.This
tensionissustaineduntiltheveryendofthecoda,with
Beethoven’shumorousintentconfirmedonceandfor
allinthefortissimooutburstofthefinalchord.Comedy
alsoinfusesthefirstepisodeoftherondofinale,where
pouncingloudchordsarepairedwithscurryinggestures
ofrapidpassage-workinagameofcat-and-mouse.
Beethoven: Sonata No.26 in E flat, Op.81a (Les Adieux)
(i) Das Lebewohl (Les Adieux): Adagio - Allegro
(ii) Abwesenheit (L’Absence): Andante espressivo
(iii) Wiedersehn (Le Retour): Vivacissimamente –
Poco andante – Tempo 1
Beethoven’sLes AdieuxSonatabearstheimprintofthe
turbulentpoliticaleventsof1809,whenNapoleon’s
armiesinvadedAustriaandoccupiedViennaafter
bombardingthecity.ManyofBeethoven’sfriendsfled
fromVienna,includinghisstudentandpatronthe
ArchdukeRudolph,whodepartedon4May1809,not
toreturnuntil30January1810.Beethovenremained
inVienna,however.IntheFarewellSonata,Beethoven
enteredthedatesoftheArchduke’sdepartureand
returnintothescore,andallowedtheemotional
progressionof‘farewell-absence-return’todetermine
thebasiccharacterofthethreemovements.Thesonata
beginswithadescendingthree-notefigurethatstands
forLe-be-wohl(farewell).
Thetonalambiguityoftheslowintroductionto
thefirstmovementcontributestoitssuspended,
searchingcharacter–thesamequalitiesthatreappear
inthesecondmovementAbwesenheit(absence).
Atthesametime,thethree-note‘farewell’motto
assumesimportancethroughouttheallegroofthe
firstmovement,whichbeginswithanenergetic
reinterpretationoftheprogression,abovea
chromaticallyfallingbass.Theharmonicboldness
characteristicofthissonataismostofallevidentin
thecoda,wherethetonicanddominantarerepeatedly
soundedtogether.Heretheimitationsoftheoriginal
mottoseemtorecedeintothedistance,implyingthat
thedeparturehastakenplace.
Thesecondmovement,Absence,hasaslow
processionalcharacterandleadsdirectlyintothefinale.
Itstwocontrastingthemesseemtoconveyacyclic
repetitionofgriefandconsolation;andwearegivena
sensethatthealternationoftheseemotionalstates
couldcontinueindefinitely.Afterthemusicascendsto
thedominant-seventhchordofEflat,thislong-awaited
transitionoccursintheformofadecisiveandjubilant
elaborationofthischordinaten-bartransitiontothe
finale.Thisis,ofcourse,themomentofreunion.
AdancingVivacissimamenteinsonataformnow
transformsthe‘farewell’motivefromthefirst
movementintoscintillatingfiguration.Beethoven
recallsthesymbolicprogressionfromAbsenceto
Reunionbytransforminghard,bleak,unharmonised
octavesintodelicateturnswithgracenotes,ina
swinging6/8metre.Thisfinaleembodiesnotonly
anoutcomeoftheoverallnarrativeprogressionof
movements,butactsasadramaticculminationof
theentirework.Beethovenapparentlydelayedthe
completionofthisexuberantfinaleuntiltheactual
returnoftheArchduke,whichgavehimcausefor
celebrationandareasontoimmortalisetheir
friendshipthroughaworkofart.
Programme notes by Professor William Kinderman © 2007
Beethoven: Sonata No.2 in A, Op.2 No.2
(i) Allegro vivace
(ii) Largo appassionato
(iii) Scherzo: Allegretto
(iv) Rondo: Grazioso
Thethreesonataspublishedin1795asOp.2arealready
highlymatureandindividualworks.Thesecondsonata
inAmajorisexpansiveandradiantincharacter,and
itsopeningAllegrovivacemovementisendowedwith
greatenergy,surprisesandhumoroustwists.Nearthe
endoftheexposition,amotivedrawnfromtheopening
themeintrudesboisterouslyinthedepthsofthebass,
withalmostgrotesqueeffect.Aftersavouringthis
paradoxicalmoment,Beethovenfinallyresolvesthe
tensionasthemusicburstsintothesought-afterkey
ofEmajorinaspiritofunbuttonedrevelry.
TheslowmovementinDmajor,markedLargo
appassionato,hasanoble,hymn-likecharacter.
Beethoveneffectivelyvariesthechorale-likemain
theme,juxtaposingsombremassivenessintheminor
modewithatransparent,almostluminescentfinal
variationthatleadsintoameditativecoda.Likethe
firstmovement,theScherzoandRondofinalefeature
motivesbasedonrisingarpeggios,whichBeethoven
developshereinalightlysensuous,scintillating
manner.Theclosingmovementisthefirstgreatrondo
finaleinBeethoven’ssonatas,andaworthyforerunner
ofthegracefulrondosconcludingseverallatersonatas
uptoOp.90.
Beethoven: Sonata No.17 in D minor, Op.�1 No.2 (Tempest)
(i) Largo – Allegro
(ii) Adagio
(iii) Allegretto
Theso-calledTempestSonataisBeethoven’sonly
sonataintheuncommonkeyofDminor.Thereference
toTempestisbasedonanunconfirmedreportthat
BeethoventhoughtofShakespeare’splayinrelation
tothissonata.Aninnovationinthisworkisitsuse
SUNDAY 3 FEBRUARY Royal Festival Hall, 3pm
ofanopeningthemethatembracesdiametrically
opposedtemposandcharacters:ahovering,ambiguous
unfoldingofdominantarpeggios,markedLargo;and
aturbulentcontinuationstressingarisingbassand
expressivetwo-notesighfigures,markedAllegro.
Attherecapitulation,themysteriousarpeggiosreturn,
openingaspheredetachedfromthestrifeoftheAllegro,
andtheirexpressiveimplicationsarenowmadeexplicit
throughpassagesofunaccompaniedrecitative.This
recitativewasthepassagethatinfluencedBeethoven,
consciouslyorunconsciously,whenheconceivedthe
famousbaritonerecitativeinthechoralfinaleofthe
NinthSymphony,‘O Freunde, nicht diese Töne!’
(Ofriends,notthesetones!)–aworkalsoinDminor.
TheensuingAdagiointheTempestSonatatransforms
elementsfromthefirstmovementinabrighter,warmer
context;theopeningarpeggionowrestsonthestable
tonicsonorityofBflatmajor,andthefollowing,double-
dottedmotivesinthehighregisterarereminiscent
oftherecitative.IntheAllegrettofinale,inDminor,
Beethovendevelopsthearpeggiatedchordsthroughout,
asanall-encompassingperpetuum mobilerhythm
sweepsawaytherhetoricoftheprecedingmovements.
INTERVAL
Beethoven: Sonata No.10 in G, Op.14 No.2
(i) Allegro
(ii) Andante
(iii) Scherzo: Allegro assai
Thissonata,from1799,isacharminglysensuous
andtightlyintegratedwork,whoseoutermovements
arelinkedbymotivicandrhythmicconnections.
ThegentlylyricalcharacteroftheopeningAllegro
yieldsinthedevelopmentsectiontoepisodesof
surprisingdramaticpower.Hereandintherondofinale,
Beethoven’ssubtleplaywiththephrasingandaccents
ofhisthemesimpartsaremarkablefreshnessand
plasticitytothemusic.
14 15
Beethoven: Sonata No.25 in G, Op.79
(i) Presto alla tedesca
(ii) Andante
(iii) Vivace
This‘sonatina’datesfrom1809,andBeethovenpushes
thecompactdimensionsoftheworkwithavivacious
driveandsharplyprofiledexpressivecontent.The
rhythmicflamboyanceofthefirstmovementisreflected
inthedirectionPresto alla tedesca,whichreferstothe
fasttypeoftheGermandance,knownsincethelate
18thcentury.
Thesecondmovement,markedAndante,isa‘song
withoutwords’displayingmetricalambiguityanda
remote,archaicqualitysuggestingtheinfluenceof
Easternfolklore.Themelancholicopeningtheme,
withitsbareaccompaniment,contrastswithabrighter
continuation,butthemusicrelapsesintomythic
bleaknessattheclose.
Theworkconcludeswithavivaceoflaconicbrevity,
whoseopeningthemebearsastructuralresemblance
tothebeginningofBeethoven’slaterEmajorSonata,
Op.109.Amuchcloseraffinityincharacter,however,is
shownbythelivelyfinaleofhisFourthPianoConcerto,
alsoinGmajor.
Beethoven: Sonata No.28 in A, Op.101
(i) Allegretto ma non troppo
(ii) Vivace alla Marcia
(iii) Adagio, ma non troppo, con affetto – Tempo del
primo pezzo - Allegro
FewofBeethoven’spiecesexertedsuchastrong
spellontheRomanticcomposersasthisAmajor
Sonata,Op.101,from1816.Mendelssohnimitatedit
inhisOp.6Sonata,andWagnerfoundinitsopening
movementtheidealofhis‘infinitemelody’.Thesonata
marksamajortransitioninBeethoven’sstyle,pointing
unmistakablytotheuniquesynthesisachievedin
worksofhislastdecade.
OneaspectofBeethoven’snewstyleseeninthis
sonataconsistsinthewayhelinksthemovements
intoadirectionalsequenceleadingtowardsthefinale.
Thecruxoftheworkiscontainednotintheopening
Allegrettomovement,despiteitsquiet,lyricalbeginning.
Followingthisshortmovementofyearningcharacter,
andthebrusque,angularmarchformingthesecond
movement,amorefundamentalleveloffeelingis
uncoveredintheslowintroductiontothefinale,marked
Langsam und sehnsuchtsvoll(slowlyandwithlonging).
Here,themusicisdrawnprogressivelylowerinpitch
untilitcollapsesontoasoft,sustainedchordthatis
toserveasaturningpointandanewbeginning.This
softchord,theexactsonorityoutofwhichtheopening
ofthefirstmovementsprung,istransformed,aftera
shortcadenza-likepassage,intotheactualbeginning
oftheopeningmovementbeforeitdissolvesintothe
beginningofthefinale.
Thefinaleisinsonataform,withitsdevelopment
assignedtoafugato.Thefugaltexturesinthefinale
unfoldwithanuncompromisingdeterminationand
virtuositycomparableonlytothefugalfinaleof
Beethoven’snextsonata,theHammerklavier.Op.101
isoneofthemostdifficultofallthesonatas,and
Beethovenhimselfoncedescribedthepieceasa
‘sonatathatishardtoplay’.
Thechallengeofthisworkliesnotonlyinthecomplex
polyphonyoftheMarchandfinale,butinthedelicate
narrativesequenceofthewhole.Twicewepassfrom
spheresofdreamlikereflectionintothevigorous
musicallandscapesoftheMarchandfinale,and
thesearenotmerelyrupturesinthemusicalformbut
momentsoftransformation.Especiallycharacteristic
isBeethoven’sabidingmemory,attheendofOp.101,of
earlierstagesintheartisticprocess,whichnourishes
thehumorouswitoftheconclusion.
Programme notes by Professor William Kinderman © 2007
Beethoven: Sonata No.8 in C minor, Op.1� (Pathétique)
(i) Grave – Allegro molto e con brio
(ii) Adagio cantabile
(iii) Rondo: Allegro
‘DearBeethoven!’wroteCountWaldsteinintotheyoung
composer’salbumatBonnin1792,‘Youaregoingto
Viennainfulfillmentofyourlong-frustratedwishes…
withthehelpofassiduouslabouryoushallreceive
Mozart’sspiritfromHaydn’shands…’Bythetime
BeethovencompletedthefamousPathétiqueSonata
in1799,Waldstein’sprophecyhadbeenlargelyfulfilled.
ThissonatashowsanaffinitytosomeofMozart’s
pianoworksinthiskey,yetBeethoven’streatmentof
theCminorpathosdepartsfundamentallyfromthat
ofhisadmiredpredecessor:thetragicresignation
characteristicofMozartissupplantedherebyan
attitudeofresistance,evendefiance.
IntheintroductoryGraveofthefirstmovement,this
resistancetosufferingisimpliedinthecontrast
betweenanaspiring,upwardmelodicunfoldingand
leadenweightoftheCminortonality.Therisingcontour
andharmonicdissonancesoftheGravearethen
transformedintoforcefulaccentsintheturbulent
mainthemeoftheensuingAllegro.
TheAdagiocantabileisanoasisofhymnicserenityset
inacontrastingkey:Aflatmajor.Variedappearancesof
thebroad,lyricalthemearesetintoreliefherebytwo
passagesthatdisplaysubtlemotiviclinkstotheouter
movementsofthesonata.
TheRondofinalebringstogetherelementsfromeachof
theprecedingmovements.Theheadofitsmaintheme
isderivedfromthebeginningofthesecondsubject
oftheAllegro.ArelationshipbetweentheRondoand
theAdagiocantabilesurfacesintwopassages:the
variationsonaplacid,contrapuntalsubjectforming
thecentralepisode,andthelastfleetingrecallofthe
headoftherondothemeisheardwithoutitsflowing
accompanimentjustbeforetheclose,whenstrife-
riddenmusicsweepsawaythefragile,reflectivemood.
MONDAY 4 FEBRUARY Royal Festival Hall, 7.30pm
Beethoven: Sonata No.12 in A flat, Op.26
(i) Andante con variazioni
(ii) Scherzo: Allegro molto
(iii) Marcia funebre sulla morte d’un Eroe
(iv) Allegro
ThespecialpopularityofthisSonataduringthe19th
centurywasboundupwithitsthirdmovement,a
funeralmarch‘onthedeathofahero’.Thismovement
wasperformedduringBeethoven’sfuneralprocession
inViennain1827anditistheonlymovementinhis
sonatasthatheeverarrangedfororchestra.The
firstmovementisasetoffivevariationsonanoble
andantetheme.Theoveralldesigninvolvesprogressive
rhythmicsubdivisionsinvariationsone,twoandfive;
theoutcomeofthisprocesscomesinthefinalvariation,
asBeethovenglorifiesthethemeinintricatetextures.
TheensuingScherzomovementfeaturesanenergetic
stepwiserisingmotive,anideathatiscombinedwith
arunningcounterpointattheendofthemovement,
generatinganexplosiveclose.
Thetwofollowingmovementsarelinkedinasubtle,
almostuncannyway.Thegrandrhetoricofthefuneral
march–completewithcannonsalvosinthemiddle
section–conjuresadramaticvision,yetBeethoven
followsthemovementwithastrangelyimpersonal,
yetluminouslyconsoling,rondofinale.Healludes
tothefuneralmarchthroughthelowdrumrollsand
pathos-ladenrhetoricofthecentralepisode–andin
doingsohenearlyparaphrasesthefirstmovement
ofthePathétiqueSonata.Onecouldregardthefinal
movementastranscendingpersonaltragedythrough
thedeeperabidingexperienceembodiedinart,and
henceasaconfirmationofBeethoven’sfavoritemaxim:
‘Artislong,lifeisshort’.
INTERVAL
17
Beethoven: Sonata No.19 in G minor, Op.49 No.1
(i) Andante
(ii) Rondo: Allegro
Beethoven: Sonata No.20 in G, Op.49 No.2
(i) Allegro ma non troppo
(ii) Tempo di menuetto
Beethovencomposedthesetwo‘easysonatas’during
the1790s.Thesmallscaleofthesetwo-movement
worksandtheirfamiliarityasteachingpieces
shouldinnowaydetractfromthegenuinebeauty
andindividualityoftheworks.Themusicalrhetoric,
transparenttexturesandbalancedreposeofthe
phrasingintheGminorSonataarereminiscentof
Mozart,asaretheexpressivechromaticinflectionsin
theopeningAndante.ThecloseoftheAndanteinthe
majormodepreparesthetransitiontothedelightful
rondofinale,whichisenrichedbydance-likeepisodes
andbypassagesrecallingtheminorkeyfromthe
firstmovementinatransformedcontextinfusedby
humorousgaiety.
TheopeningmovementoftheGmajorsonatabegins
withadualisticgesture:anarrestingchordwithamotive
intripletsintherighthand,followedbyamelodic
continuationintwovoices.Beethovenemploysthese
twocontrastingthematicideasthroughout.Inthe
secondmovement,thefunctionsofaslowerdance
movementandfinalearecombined.Herethemelodic
contourfromthefirstmovementisreshapedina
graciousminuetcharacterisedbydottedrhythms
andaflowingaccompaniment.
Beethoven: Sonata No.2� in F minor, Op.57 (Appassionata)
(i) Allegro assai – Più allegro
(ii) Andante con moto –
(iii) Allegro ma non troppo – Presto
ThedistinguishedcriticDonaldToveyonceobserved
thatthisSonatainFminorisBeethoven’sonlywork
tomaintainatragicsolemnitythroughoutallits
movements.ThetitleAppassionataisnotinappropriate.
Still,Beethoven’sstudentCarlCzernywassurelycorrect
inobservingthattheworkis‘muchtoomagnificent’
foritstitle.Initspoeticpowerandrichnessofallusion,
thissonatarepresentsaprofoundachievement,
outstandingevenforBeethoven.
TheopeningAllegroassaibeginswithaphrasewhose
twohalvesembodycontrarytendencies;thefirst
consistsofamysterioustriadicfigureingapped
octaves,whereasthesecondhalfofthephrase
presentsanimploring,plaintive,harmonisedgesture
aroundanexpressivetrill.Thetensionimplicitinthis
motivicjuxtpositionissoonconcentratedinafour-
notemotiveinthebass.ThisisavariantofBeethoven’s
‘fate’motiveinvolvingrepeatednotes–thefigurethat
permeateshisFifthSymphony.
Inthesonata’soveralldesign,Beethovenexploitsa
relationbetweenserenelyricisminDflatmajorand
atempestuousidiominFminor.Especiallyimportant
isthecontrastingroleoftheslowmovement,asetof
variationsinDflatmajoronanalmoststatic,hymn-like
andantetheme.Thevariationsembellishthetheme
throughaseriesofprogressiverhythmicsubdivisions
coordinatedwithagradualascentinregister;yet
theentireprocessiscontemplativeanddreamlike,
tobeabruptlyshatteredbythefirsthintofaction.A
dissonantarpeggiatedchordishammeredout13times
inanacceleratedtempo.Theself-sufficiencyofthe
variationmovementisthusannihilated,asDflatnow
becomesacrucialdissonanceinthecontextofFminor,
recallingasimilartreatmentinthefirstmovement.
AccordingtohispupilFerdinandRies,Beethoven
conceivedthispassagewhile‘hummingandsometimes
howling’duringawalkinthecountrysideinthesummer
of1804.Beethovenlendsunusualweighttotheendof
thefinalebyprescribingarepetitionofthedevelopment
andrecapitulation.Aftertherepetition,weheara
prestocodabeginningwithanecstaticallystamping
dance,whichdissolvesintoafrenziedintensificationof
theturbulentrhetoricfromtheAllegromanontroppo.
Thebeginningofthecodahasadissociated,shocking
effect.Itseemstorepresentavaliantyetfutileattempt
tobreakoutofthedownwardrushofmusicburdened
withasenseoftragicdoom.
Programme notes by Professor William Kinderman © 2007
Beethoven: Sonata No.5 in C minor, Op.10 No.1
(i) Allegro molto e con brio
(ii) Adagio molto
(iii) Finale: Prestissimo
ThissonatainCminor,from1798,marksthefirst
appearanceinBeethoven’ssonatasofhiscelebrated
‘Cminormood’–thattempestuouscharacterreflected
inpieceslikethePathétiquesonataandtheFifth
Symphony.Therhetoricalcontrastsoftheseworks
oftenjuxtaposeaforcefulexpressioninvestedwith
rhythmictensionanddissonanceontheonehand,with
theemergenceofaplaintiveorlyricalvoiceontheother.
Inthefirstmovementofthissonata,Beethovendistills
thesecontrastswithutmostconcentration.Thusthe
powerfulopeningCminorchord,withitsjagged,rising
rhythmicinflections,yieldstoaquiettransformationof
thesamesound,whiletheensuingmotivicfallreiterates
theforcefulopeninggesture.Inthefollowingphrases,
arapportofsoundwithsilenceimpartstension,and
thepausesarenolessimportantthanthenotes.
AsisusualinBeethoven’sCminorworks,theslow
movementisplacedinthekeyofAflatmajor.Its
grandlyricalexpressionreliesmuchondecorative
variation,especiallyinthequietsecondsubject,in
whicheachphraseisreshapedintorapid,delicate
figuration.Thismovementisasonataformwithasingle,
emphaticdominant-seventhchordstandinginplace
ofadevelopment.ThePrestissimofinaleopenswitha
lean,shadowytheme,inwhichmotivesfromthefirst
movementreappear.Stillmoresurprisingisthewaythe
principalmotiveisabsorbedintothesecondsubject
groupofthiscompactsonataform,withcomiceffect.
Riotoushumoureruptsinthecadentialtheme:asifthe
drasticcontrastsandhammeringrhythmswerenot
enough,Beethovenwickedlyinsertsa‘wrong’chordon
Cflat,playedfortissimo,justbeforethecadence.
WEDNESDAY 6 FEBRUARY Royal Festival Hall, 7.30pm
Beethoven: Sonata No.11 in B flat, Op.22
(i) Allegro con brio
(ii) Adagio con molta espressione
(iii) Menuetto
(iv) Rondo: Allegretto
In1800,BeethovencompletedthissonatainBflat
major,themostMozartianofhislargersonatas
–andthemainthemeoftheRondofinalesomewhat
resemblesthebeginningofMozart’sbeautifulpiano
sonata,K.333,inthesamekey.ButBeethoven’s
deepestkinshipwithMozartisreflectedinaspects
oftheaestheticcharacterandformalprocedure,
involvingaself-imposedclassicalbalance.Conflictis
lessprominentherethaninmanyofBeethoven’sother
sonatas.Eventheagitatedepisodethatbeginsthe
developmentoftheopeningmovementisbalanced,
inthepassagesprecedingtherecapitulation,byan
immensedecrescendoandreductionintension.This
brilliantmovementdispensesentirelywithacoda,
afeaturequiteunusualforBeethoven,thoughmuch
morecharacteristicofMozart.
Thesecondmovement,inEflatmajor,hasaluxuriantly
singingcharacter.ThefollowingminuetinBflatmajor
blendstheagilefigurationfromthefirstmovementwith
thelyricalbreadthoftheAdagio,whilethetriosupplies
dark,blusteringcontrastintheminor.Intheexpansive
yetgraciouslyintimatefinale,Beethovenenriches
therondodesignwithfeaturesmorecharacteristicof
sonataprocedure,suchastheimpressivecontrapuntal
treatmentofthesecondthemeinthecentral
developmentalepisode.ThisAllegrettoisoneofseveral
graciousrondofinalesintheBeethovensonatas,
includingOp.2No.2,Op.7,Op.31No.1andOp.90.
INTERVAL
16
18 19
Beethoven: Sonata No.1� in E flat, Op.27 No.1 (Quasi una fantasia)
(i) Andante – Allegro –
(ii) Allegro molto e vivace –
(iii) Adagio con espressione – Allegro vivace
ThepairofsonatasofOp.27,from1801,aredescribed
byBeethovenasSonata quasi una fantasia.Inthese
fantasysonatas,Beethovenconnectsthesuccessive
movementstooneanother,therebyshapingalarge-
scalenarrativesequencethatreachesitsclimaxinthe
finale.Paradoxically,hismergingofsonataandfantasy
intheseworksinfusesafreedomintotheformal
designthatenableshimtoimposeanunusuallytight
relationshipbetweentheindividualmovements.
Thefirstofthesefantasysonatas,Op.27No.1,begins
witharelaxed,almostweightlessimprovisation,
behindwhichlurkssurprisingdepths.Thefirststriking
changeintonalcolour–toCmajor–foreshadows
thekeyoftheexuberantAllegroepisodethatisheard
beforetherestatementoftheopeningAndante.In
thefollowingscherzo-likemovement,inCminor,a
humoroussyncopatedtrioinAflatisenclosedbydark
outersections;andinthereprise,Beethovencreatesa
uniquesoundtexturebyprescribingconnectedlegato
articulationintherighthandanddetachedstaccatoin
theleft.Thefinalecombinestwomovementsintoone.
AreflectiveAdagioservesasaslowintroductiontothe
ensuingrondo,markedAllegrovivace.Therondotheme
thenreshapesthemelodiccontourfromthebeginning
oftheAdagiowithHandelianenergy.
Beethoven: Sonata No.7 in D, Op.10 No.�
(i) Presto
(ii) Largo e mesto
(iii) Menuetto: Allegro
(iv) Rondo: Allegro
ThisSonata,from1798,isoneofthebiggestandmost
brilliantofBeethoven’searlysonatas.Itbeginswith
unharmonisedoctaves,presentingthematicmaterial
thatinitselfisnotparticularlydistinctive-yetthe
SATURDAY 9 FEBRUARY Royal Festival Hall, 7.30pm
elementalnatureofthisopeninglendsitselfwellto
reinterpretationandreworking.Thismovementshows
anintenseinternaldynamismthatstrainstheformal
frameworkoftheclassicalsonataandexpandsitfrom
within–ahallmarkofBeethoven’sforcefulearlystyle.
InthefollowingLargoemesto,Beethovenexploits
thecontrastbetweenthick,darkchordsanda
moretransparent,recitative-likevoiceintheupper
register.Thisslowmovementisoneofthegreattragic
utterancesinearlyBeethoven,anddisplaysasenseof
abortivestruggleandresignation.
IftheensuingtransparentMenuettoleavesbehindthe
gloomydepthsoftheslowmovement,theconcluding
Rondoischaracterisedbyanunpredictablehumour.
HerethedynamicstopsandstartsfromthePresto
becomeagameofhide-and-seekforthethemeitself
-indeed,isthethemeeverfound?Itseemstosuggest
aprocessofseeking,doubtingandevasion.Thesonata
hasanopendissolvingconclusion,asbefitsthedeft
circumspectionofitswit.
INTERVAL
Beethoven: Sonata No.27 in E minor, Op.90
(i) Mit Lebhaftigkeit und durchaus mit Empfindung
und Ausdruck
(ii) Nicht zu geschwind und sehr singbar vorzutragen
ThisSonatadatesfrom1814,theperiodofBeethoven’s
revisionofFidelioandofhisspectacularpopular
successduringtheCongressofViennawithpatriotic
potboilerssuchastheBattleSymphonyand
Wellington’s Victory,Op.91.Thededicationofthenew
sonatatoCountMoritzvonLichnowskywasbound
upwiththelatter’sassistanceinobtainingfinancial
recognitionfromtheBritishforWellington’svictory.
Beethoven’suntrustworthybiographerAntonSchindler
relatedananecdotethatbearsretellinghere,since
itconveystheironicwittypicalofBeethoven.The
Count,whowaspreoccupiedwithmarriageplans,is
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20 21
Beethoven: Sonata No.15 in D, Op.28 (Pastoral)
(i) Allegro
(ii) Andante
(iii) Scherzo: Allegro vivace
(iv) Rondo: Allegro ma non troppo
ThisSonatawastitledPastoralbythepublisherCranz
ofHamburg.Thetitleisnotunfitting:onecanfindpedal
pointsinthefirstandlastmovementsandoccasional
bagpipefifths,whereasthecadentialthemeinthefirst
movement,internalepisodesintheslowmovementand
thescherzoareallrusticincharacter.TheAndanteinD
minorhasaprocessional,ballade-likeatmosphere;the
melodicinflectionsofitsmainthemeseemsuggestive
ofspeech.Thismovementharbourstheonlytragic
momentinanotherwiseluminousscore.Inthecoda,
Beethovenjuxtaposesthefirstphrasesofthemain
themewithadisturbing,dissonanttransformationof
theinnocentcontrastingsubject–aglimpseofthe
abyssfollowedbyacloseinbleakresignation.
Surprisingly,BeethovenbeginshisScherzowithfour
descendingFsharps,whichrelatetothepedalpoint
inthedevelopmentofthefirstmovement,aswellas
totherepeatedFsharpoftheAndante’sidyllicmiddle
section.Whilethescherzosuppliesatouchofhumour,
thefinaleisacharming,graciousrondo,whosemiddle
episodeisassignedtoafugato.Thelastofmany
delightfulsurprisesinthissonatacomesinthecoda,
asBeethovenreplacesthebucolicphrasesfromthe
mainthemewithrapidfigurationwhilereinforcingand
acceleratingthebass,whoseinsistenttonicpedal
andiambicrhythmbringthemusictoitsemphatic
humorousclose.
MONDAY 11 FEBRUARY Royal Festival Hall, 7.30pm
Beethoven: Sonata No.� in C, Op.2 No.�
(i) Allegro con brio
(ii) Adagio
(iii) Scherzo: Allegro
(iv) Allegro assai
ThisSonataisthemostbrilliantofthethreesonatas
ofOp.2,studdedasitiswithcadenzasintheouter
movements,includingatripletrillinthefinale–both
featuresmoreoftenassociatedwiththedisplaygenre
oftheconcerto.Theopeningmovementshowcases
Beethoven’spianisticvirtuosity:itaboundsinchains
ofbrokenoctaves,arpeggiosandtrills;itstextures
distantlyprefigurethecorrespondingmovementofthe
WaldsteinSonata.
Whatfollowsisoneofthemostmovinginspirations
inearlyBeethoven.HeplacestheensuringAdagioin
acontrastingtonecolourthatcastsadreamlikeveil
overthedelicatelyricismoftheslowtheme.Butwhen
Beethovenarrivesatthecadence,thisauravanishes
andthethemeisunabletosustainaresolution.
Instead,Baroque-likefigurationemerges,withdeep
bassoctavesandexpressiveinflectionsinthehigh
register.Thetransitionisladenwithtragicovertones,
asifinwardaspirationswereconfrontedherebysome
intransigentexternalreality.
TheScherzoalsojuxtaposesconflictingperspective,
butwithanentirelydifferentresult:oneofBeethoven’s
firstgemsofcomicmusic.Themusichasajocular
character;thefallingstaccatonotesarealmost
evocativeoflaughter.Beforelong,thepuregaietyof
theopeningmusicispittedagainstmockbluster;at
theclimaxthemusicseemstobeimprisonedwithinthe
minormode,unabletofindthedoorthatwillopenthe
ensuingrepriseoftheScherzo.
Therondo-sonatafinalerestoresthevirtuosictone
oftheopeningmovement.Thismovementsportsa
dazzlingpianistictechnique:themainthemebegins
withrapidparallelchordsofthesixth,aconfiguration
thatischangedtooctaveswheneverthesubject
appearsinthelowregister.Thecharacteriscapriciously
humorous;eachnewappearanceoftheprincipaltheme
isgreetedbyvariantsandsurprisingnewturns.
INTERVAL
supposedtohaveinquiredaboutthemeaningofthe
sonata,whereuponBeethovenrepliedthatthefirst
movementdepicteda‘strugglebetweentheheadand
theheart’andthesecondmovementa‘conversation
withthebeloved.’Ifauthentic,thisremarkrepresents
anexampleofBeethoven’swryhumourinrelating
thegeneralcharacterofhismusictotheindividual
perspectiveofthequestioner.Themetaphoralsodraws
attentiontothecontrastingrelationshipofthepaired
movementsofOp.90,withitsterse,dramaticopeningin
theminor,followedbyanexpansivelyricalrondointhe
major.
Theopeningmovementishighlyintegratedinitsmotivic
andrhythmicrelationsandinitsform.Thereisnoclear
formaldivisionbetweenthetransitionandsecond
subjectgroupandnorepetitionoftheexposition.The
developmentemergesoutofthemysteriousstillnessof
singlerepeatednotesonthethresholdofaudibility.
Thesecond,finalmovementisthemostSchubertian
movementinBeethoven,aluxuriousrondodominated
bymanyappearancesofaspaciouscantabiletheme.
Themaintuneisscarcelyvariedintherondo,yet
sensitiveperformancecanendowtherepetitionsof
thethemewithevernewshadingsanddetail,aswas
admiredintheplayingofBeethoven’sdistinguished
pianostudentDorotheaErtmann.Accordingto
Schindler,whosetestimonycanbetrustedinthis
instance,‘shenuancedtheoftenrecurringmainmotive
ofthismovementdifferentlyeachtime,sothatittook
atfirstacoaxingandcaressing,andlateramelancholy
character.Inthiswaytheartistwascapableofplaying
withheraudience.’
Beethoven: Sonata No.21 in C, Op.5� (Waldstein)
(i) Allegro con brio
(ii) Introduzione: Adagio molto –
(iii) Rondo: Allegretto moderato – Prestissimo
Beethoven’smajorsonatafrom1804,theWaldstein
Sonata,marksthethresholdofanewstagein
hisartisticdevelopment.ThatBeethovenhimself
recognisedthischangeisrevealedmostclearlyinhis
decisiontoremovetheoriginalslowmovementofthe
WaldsteinSonata–aluxuriantlydecorativerondo
entitledAndantefavori–andsubstituteabriefbut
profoundIntroduzione.Theornamentalstyleofthe
Andantefavoriseemsconservativewhenmeasured
againstthefirstmovementoftheWaldstein,whose
harmonicinnovationscreateanenlargedsenseof
tonalspace.Thesecondsubjectgroupbeginswith
aserene,chorale-likesubjectmarkeddolce e molto
legato.Beethovendevelopsthislyricalsubjectthrough
variation,embroideringitssustainednotesthrougha
rhythmictextureoftripletsthatgraduallyreassertsthe
brilliantpianistictexturescharacteristicofthissonata.
Thesubstituteslowmovementisadmirablycalculated
tosetintorelieftheluminousCmajorworldofthe
longeroutermovements.TenbarsintotheIntroduzione
apassagewithrecitative-likephrasesemerges,butthis
brighter,consolingvoicecannotbesustained.Onlyafter
anarrestingclimaxdowereachamiraculousturning
pointattheemergenceintotherondo-sonatafinale,
markedallegrettomoderato.
ThehighGthatactsaspivotfromtheIntroduzione
intothefinalealsoservesasthecrucialpeakofthe
mainthemeoftherondo.Beethovenglorifiesthispitch
throughsustainedtrillsasthethememigratesinto
thestratospherewiththelefthandencompassingthe
lowerregisterswithrapidscales.Pianistictextureslike
thesewereunprecedentedin1804;theyforeshadow
someofthemostvisionarymomentsinBeethoven’s
lastsonatas.Impressiveaswellaretheepisodesof
therondo(thefirstofwhichhasa‘Russian’flavour
inAminor)andthecentraldevelopmentsection,an
imaginativefantasybasedontherhythmofthemain
theme.Thecodadoublesthetempo,turningthemain
themeintoanetherealparodyofitself,andtheclosing
passagesofthisgreatsonatareassertfirsttheurgency
ofthethematiccompressionandthenthemagnificent
breadthofBeethoven’srhythmicconception.
Programme notes by Professor William Kinderman © 2007
22 2�
Beethoven: Sonata No.16 in G, Op.�1 No.1
(i) Allegro vivace
(ii) Adagio grazioso
(iii) Rondo: Allegretto – Adagio - Presto
During1802Beethovenfacedacrisisandturning
point.Thesymptomsofhisincreasingdeafnesscould
nolongerbeignored:inhislettertohisbrothers,the
HeiligenstadtTestament,Beethovenwrotethatonly
hisartheldhimbackfromendinghislife.Duringthe
sameperiod,Beethovenexpresseddissatisfactionwith
hisearlierworks,andexpressedhisintentiontoseek
‘anewway.’ThethreesonatasofOp.31arelandmarks
alongthisnewpath,boldlyexploringartisticterritoryhe
soonconsolidatedintheEroicaSymphony.
Thisinnovativethrustsurfacesintheopening
momentsofthisGmajorSonata.Theinitialgestures
aresyncopated:thetwohandsseemunableto
playtogether.Thesonataproceedswithanairof
paradoxandcomedy,withatouchofthebizarre.A
keytounderstandingtheopeningAllegrovivacelies
inBeethoven’sironicattitudetotheunbalanced,
somewhatcommonplacenatureofhisbasicmaterial:
whatunfoldsinthedevelopmentwithstartling
vehemencelaterdissolvesintocoyish,understated
accentsinthecoda,whereBeethovenintroduces
aturnfigureforeshadowingtheheadmotiveofthe
rondofinale,castingunifyingthreadsacrossthe
pieceasawhole.
Thesecondmovementdisplaysanatmosphereof
operaticelegance,slightlyoverdone.Thetrillsand
ornatedecorations,theserenade-likeflavourandthe
exaggeratedrhetoricconveyahintofsophisticated
mockery.Inthefollowingrondofinale,Beethoven’s
ingeniousdemandsonthemusicaltraditiontakeyet
anotherform.Herenderstheexpectedrepetitions
ofthemainthemeintherondodesignunpredictable
throughvariationsinthetextureandrhythmic
intensification,andthencapsthesonatabyallowing
themovementtodissipateintoaparadoxicalcloseof
softchordsandpregnantsilences,recallingthereby
theopeningmovement.
FRIDAY 15 FEBRUARY Royal Festival Hall, 7.30pm
Beethoven: Sonata No.l4 in C sharp minor, Op.27 No.2 (Moonlight)
(i) Adagio sostenuto
(ii) Allegretto
(iii) Presto agitato – Adagio – Presto agitato
ThisSonata,from1801,isoneofBeethoven’sfewworks
inwhichthefinaleisofunremittinglytragiccharacter.
TheepithetMoonlight,inventedbythepoetandcritic
LudwigRellstab,isquiteinappropriateforthissonata;
muchmoresuggestiveisLiszt’sdescriptionofthe
middlemovementas‘aflowerbetweentwoabysses’.
Acentralideaofthissonataconcernsthe
transformationofthegentlyascendingarpeggiosof
theopeningAdagiosostenutomovementinthePresto
agitatofinale,wheresurgingarpeggiosleadtopowerful
syncopatedchordsinthehighestregister,supported
byadescendingbassprogressionsimilartothatatthe
beginningofthefirstmovement.
Thesecondsubjectofthefinalealsorecallsthe
principalthemeoftheopeningmovementinitsuse
ofdottedrhythms,whilestillotherpassagesofthe
finale,suchastheendofthedevelopmentandthe
elaboratecadenzainthecoda,bearmarkedthematic
andtexturalsimilaritiestotheAdagiosostenuto.The
middlemovement,aminuetandtrio,representsakind
ofinterludethatconnectsthealmoststaticopening
movementwiththerapid,agitatedfinale.
INTERVAL
Beethoven: Sonata No.24 in F sharp, Op.78
(i) Adagio cantabile – Allegro ma non troppo
(ii) Allegro vivace
Beethovendedicatedthistwo-movementSonatatothe
CountessThereseBrunswick,whotookpianolessons
withhimasearlyas1799.Thecomposerdevoted
longhourstoteachingyoungThereseandhersister
Josephine;astheCountesslaterrecalled,he‘never
tired’of‘holdingandbendingmyfingers,whichIhad
beentaughttolifthighandholdstraight.’Thesonata
beginswithanintroductorymottooffourbars,played
Adagiocantabile.Euphoniouschordsenhancedwith
expressiveappoggiaturasriseaboveadeeppedalpoint
inthebass;thegestureisdeclamatory,yettender
andheartfelt.Mostofthemusicalmaterialinthefirst
movementisrelatedtothisconcisegesture.
TheinitiallystampinggaitoftheAllegrovivaceis
intensifiedintoextendedpassagesofwhirlingenergy.
Asthisplayfulandattimesevenboisterousfinalenears
itsconclusion,Beethovendrawsyetanotherconnection
betweenthetwomovementsbyrecallingtheoriginal
motto:afterreinterpretingtherondothemeinaplayof
contrastingregisters,themusiccomestorestontwo
softheldchordsthatcorrespondwiththeendofthe
Adagiocantabileinthefirstmovement.Anebullient
closingflourishthencompletestherisingmelodic
contourfromthemottointhehighregister,framingthe
entiresonatainasinglebrilliantgesture.
Beethoven: Sonata No.�0 in E, Op.109
(i) Vivace ma non troppo – Adagio espressivo – Tempo I
(ii) Prestissimo
(iii) Tema: Andante molto cantabile e espressivo
– Variazioni 1-6
ThisSonataisthefirstoftheremarkabletrilogyof
sonatasthatBeethovencomposedbetween1820-22.
Itsfirstmovementreflectshisinterestinparenthetical
structuresthatenclosemusicalpassageswithin
contrastingsections.TheopeningVivaceisinterrupted
afteronlyeightbarsbyanAdagiosectionthatis
positionedatthemomentoftheinterruptedcadence.
TheVivacereturnsatthedominantcadenceandthe
resultingparentheticalstructuregivestheeffectofa
suspensionoftime.Theboldandunpredictablequality
ofthemusicissustainedbyBeethoven’savoidanceof
literalrecapitulationinlaterstagesofthemovement.
OnlyinthecodaareaspectsoftheVivaceandAdagio
sectionscombined.
ThesecondmovementisaPrestissimoin6/8metre
thatsuggestsascherzo,thoughitisinsonataformand
lacksatrio.Itsdriven,agitatedcharacterrelentsatthe
endofthebriefcontrapuntaldevelopmentsection.
ThethemeandvariationsthatclosetheSonata
resembleasarabande,adignifiedBaroquedance
type.Beethoven’smarkingGesangvoll, mit innigster
Empfindung(Cantabile,withthemostheartfelt
expression)underscoresthesublimelyricism
thatcharacterisesthewhole,culminatinginthe
extraordinarysixthvariationandthefollowingclosingda
capooftheoriginaltheme.Afterthestrikingcontrasts
ofthefirstfivevariations,thesixthseemstobringus
fullcircle,withareturnoftheoriginalsarabande;but
Beethovennowexploresthethemefromwithin.Through
agradualprocessofrhythmicaccelerationandregistral
expansion,theslowcantabilethemevirtuallyexplodes
fromwithin,yieldingafantasticallyelaboratetexture
ofshimmering,vibratingsounds.Aftertheclimax,a
gradualdiminuendoeventuallyresolvestotheslightly
variedda capoofthesarabande.
Programme notes by Professor William Kinderman © 2007
24 25
Beethoven: Sonata No.9 in E, Op.14 No.1
(i) Allegro
(ii) Allegretto
(iii) Rondo: Allegro comodo
ThisEmajorSonata,from1799,isoneofBeethoven’s
worksthatdisplaysMozart’sinfluence.Intheopening
Allegro,thisMozartianinfluenceisreflectedinthe
skillfularrangementofdistinctyetrelatedmusical
figures.ThereisaMozartianflavourtothechromatic
touchesinthemainsubsidiarythemeandperhapsalso
tothetransparentcontrapuntaltexturessoevocativeof
chambermusic.
IntheAllegretto,Beethovenreshapestheturnfigure
fromthefirstmovementdevelopment,andlater
emphasisesthatmotivewithdramaticinsistence.He
alsobuildsintotheAllegrettoastrongtonaldrifttoward
Cmajor,whichbecomesthekeyofthemiddlesection.
Therondo-sonatafinaleisfilledwithhumourand
surprisingepisodes.Therondothemeemployscontrary
motion–withthetreblerisingandbassdescending
–buttherighthandshowsacuriousinabilitytomove
beyondthemelodicpeakofrepeatedoctaves.Onlyin
thefinalsectionisanewcontinuationdiscoveredatlast
astheoctavesdescendfortissimo,triggeringaburst
ofvirtuosity.BeethoventhencapsthisAllegrocomodo
withcoyishchromaticembellishmentsofthebasic
thematicprofileleadingtothejoyousfullclose.
Beethoven: Sonata No.4 in E flat, Op.7
(i) Allegro molto e con brio
(ii) Largo con gran espressione
(iii) Allegro
(iv) Rondo: Poco allegretto e grazioso
In1797,whenBeethovencomposedhisGrandSonata,
hewaslivingclosetotheyoungCountess‘Babette’
Keglevics,andcametogiveherlessonsinhismorning
gown,slippers,andtasseledcap,acircumstance
indicatingacloserelationshipbetweenpupiland
teacher.CarlCzernythoughtofOp.7asalreadyan
SUNDAY 17 FEBRUARY Royal Festival Hall, 3pm
Appassionata,‘sinceBeethovenwrotethesonataina
passionateframeofmind’.Therangeofmoodinthis
weightysonataencompassesadrivingimpetusin
theopeningAllegromovement,asearching,inward
reflectionintheslowmovement,andamainlylyrical
characterinthethirdandfourthmovements.
Thesonatabeginswithamotivicsignalofchordsin
therighthandheardaboveasteadypulseofrepeated
notes.ThesimilarityofBeethoven’slyrical,subsidiary
themetoSchubert’ssong‘Ungeduld’(fromDie
Winterreise)andtotheSehnsuchts-Walzer(Waltzof
Longing)mayaccountforthesonata’searlynickname,
Der Verliebte(TheEnamoured).Softechoesofthese
lyricalphrasesforeshadowthekeyandcharacterofthe
followingmovement,aLargoinCmajor.Adeclamatory
rhetoricandexpressivepauseslendtothismusicthe
characterofamonologue.NomovementinBeethoven
demonstratesmoreimpressivelytheimpactofsilence
inmusic.
Beethovenoriginallysketchedthethirdmovementas
anindependentbagatelle,andonlylaterabsorbedit
intothesonata.Theformresemblesascherzo,witha
gracious,dancelikeAllegroenclosingagallopingtrio
inwhichthemelodyemergesoutofahazytextureof
rapidarpeggios.Thencomesthefinale:adelicately
sensuousrondoandcrowninglyricalclimaxofthework.
Themainthemeunfoldswithexpressiveappoggiaturas
aboveapedalpoint,conveyinganintimate,suspended
character.Whereasthefirstandthirdepisodesofthe
formtransformmotivesfromthismainthemeinto
animateddialogue,thecentralepisodereleasesa
drasticcontrast–aloudandturbulentCminoridiom.
Beethovenresolvesthispassageintogracefulaccents
inthelastmomentsofthesonata,transformingstrife
intograce.
INTERVAL
Beethoven: Sonata No.6 in F, Op.10 No.2
(i) Allegro
(ii) Allegretto
(iii) Presto
Awhimsical,unpredictablehumoursurfacesinthis
Sonata,from1798.ThoughafavouriteofBeethoven’s,
thepiecehasbeenregardeddisapprovinglybysome
commentators,whohavepointedaccusinglytoloose,
meanderingfeaturesintheopeningAllegrowhile
remainingdeaftotheiraestheticquality.Beethoven
revelshereintheunexpectedandtheincongruous,and
exhibitsagood-naturedcapacityforjustgettinglost.
Theformisanti-teleological;themusicappears
toprogressinfitsandstarts,sometimesdrivenby
feverishoutburstsofimpatience.
ThesecondmovementisanAllegrettowithatrio
inFminor,thefocusofgravityinthisotherwise
lightheartedwork.Itsseriousnessofcharacterstands
incomplementaryrelationtothecomicfugalburlesque
formingthePrestofinale.ThebeginningofthePresto
reshapesthesameregistralascentthathadbegun
themeditativeAllegretto,transformingitsstructural
aspectsinanunbuttonedatmosphereofwitand
musicallaughterthat‘invertsthesublime’,according
tooneofJeanPaulRichter’sinsightfuldefinitions
ofhumour.
Beethoven: Sonata No.�1 in A flat, Op.110
(i) Moderato cantabile, molto espressivo
(ii) Allegro molto
(iii) Adagio ma non troppo
(iv) Fuga: Allegro ma non troppo – L’istesso tempo di
arioso – L’istesso tempo della Fuga – Meno allegrot
Inlate1821Beethovenreboundedfromadismalperiod
ofillness,whichdelayedhiscompletionofhissonata
trilogy,Opp.109-111.Hisrecoverysparkedhissense
ofhumourandhiscreativeforces,resultinginthe
genesisofthisremarkableSonatainAflat.Humour
isabundantlyevidentinthemiddlemovement,which
servesasascherzoinformandcharacter,althoughit
bearsonlythetempodesignationAllegromoltoin2/4
metre.Beethovenalludestotwopopularsongs,‘Ourcat
hashadkittens’,and‘I’mdissolute,you’redissolute’in
themainsectionofthismovement.
WrappedaroundthiscomicAllegromoltoare
movementsofreflectiveandeventranscendental
character.Theyareconnectedthroughanetworkof
thematicanticipationsandreminiscences.Thelyrical
fuguesubjectinthefinaleactsbothasanalternative
tothemournfulAriosodolentestanzasandasthegoal
ofvariousforeshadowingheardsincethebeginning
ofthework.Theopeningbarsofthefirstmovement,
forinstance,displayanaudibleaffinitywiththefugue
subjectofthefinale.
Theweightyfinalecontainsatwofoldpairingofthe
despairingariosoandconsolingfugue.Thefirstfugue
provesunabletobesustained,butthequietreturn
ofthefugue,una corda(usingthesoftpedal)andin
inversion,leadsthroughcomplextransformational
passagestoreachtheecstaticculminationofthewhole
work.Itissignificantinthisregardthatthetransitional
double-diminutionpassagerecallstheearliercomic
allusionintheAllegromolto.Theabstractcontrapuntal
matrixbeginningwiththeinvertedsubjectisinfused
withanewenergy,whicharisesnotnaturallythrough
traditionalfugalprocedures,butonlythroughan
exertionofwillthatstrainsthoseprocessestotheir
limits.
Therhythmicdevelopmentsthatpointthewayoutof
Beethoven’sfugallabyrinththusdistortthesubject,
compressingitalmostbeyondrecognition,while
simultaneouslyopeningameansofconnectionwiththe
earliermovements.Thetransitionfromthedarkness
andpessimismoftheAriosodolenteisnowfully
accomplished;andinthefinalmomentsBeethoven
extendsthefugalsubjectmelodicallyintothehigh
registerbeforeitisemphaticallyresolved,onceandfor
all,intotheclosingAflatmajorsonority.Thisstructural
downbeatrepresentsagoaltowardwhichthewhole
workseemstohaveaspired.
Programme notes by Professor William Kinderman © 2007
26 27
artist as leader talks
InrecentyearsDanielBarenboimhasbecome
increasinglyinvolvedinlookingathowthearts
canengagewithpoliticsandhelpcontributeto
improvementsinsociety.Inaseriesoftalksto
accompanyhisconcertperformanceshedrawson
hisexperiencestoconsiderhowartistscanbecome
leadersintomorrow’ssociety.
Saturday 2 FebruaryRoyal Festival Hall, 5pm
DanielBarenboimandJudeKelly,ArtisticDirectorofSouthbankCentre,introducetheArtistasLeadertheme,anddiscussBarenboim’sworkwiththeyoungIsraeliandPalestinianmusiciansoftheWest-EasternDivanOrchestra.
Sunday 3 FebruaryRoyal Festival Hall, 6pm
RenownedpoliticaljournalistJonSnow,DanielBarenboimandkeyleadersfromtheworldsofpoliticsandtheartsdiscusshowartistscanleadandaffectchangeinsociety.Theaudiencehavetheopportunitytojoininthedebate.
Friday 8 FebruaryPurcell Room atQueen Elizabeth Hall, 7.30pm
DanielBarenboimconcludeshissessionsaspartoftheArtistasLeaderseries,anddrawstogethertheearlierdiscussionsontheroleoftheartistincontemporarysociety,andgiveshisownpersonalconclusions.WithbroadcasterJonSnowandSouthbankCentre’sArtisticDirector,JudeKelly.
For tickets, please phone 0871 663 2500, online at www.southbankcentre.co.uk, or visit Royal Festival Hall Ticket Office.
Image caption
Beethoven: Sonata No.22 in F, Op.54
(i) In tempo di Menuetto
(ii) Allegretto – Più allegro
Thefirstmovementofthissonataisaboveallastudy
incontrasts.Itstwocontrastingthemes–agracious,
dignified‘feminine’themeresemblingaminuet;and
astamping,assertive,‘masculine’themeemploying
accentedoctavetripletsgraduallyinfluenceone
anotherinthecourseofthemovement,untilthey
becomethoroughlyintegratedandcombinedinthe
finalpassages.
TheensuingAllegretto,inaperpetualmotionrhythm,
isalreadythefinale–Op.54isthefirstofBeethoven’s
majorsonatastocompresstheformalplanintoa
pairofmovements.Thissonataformunfoldswith
anirresistiblemomentuminlongascendinglines
punctuatedbysyncopatedpedalnotes.Thecoda
acceleratestheperpetualmotioninafuriouspiù
allegrothatsweepsallbeforeit.Wecandiscerninthis
rhythmicdriveakeytotherelationbetweenthetwo
stronglycontrastingmovements.Theinitialminuet
hadproceededinhaltingfashion,oftenstoppingin
cadencessetoffbyrests,buttheassertivecontrasting
themeofthatmovementinfusedthemusicwithan
energythatinthefinalebecomesanall-encompassing
force.Thediscovery,integrationandcelebrationof
thisrhythmicenergyisaguidingideaofthesonata
asawhole.
Beethoven: Sonata No.�2 in C minor, Op.111
(i) Maestoso – Allegro con brio ed appassionato
(ii) Arietta: Adagio molto semplice e cantabile - Variazioni
Beethoven’sfinalpianosonata,Op.111inCminor,
wascompletedin1822,shortlybeforehecomposed
theNinthSymphony.ThefirstmovementofOp.111
representsthelastexampleofBeethoven’s‘Cminor
mood’asevidencedinalonglineofworksincluding
theFifthSymphony.Theslowintroduction,withits
majesticdouble-dottedrhythmsandtrills,resembles
thesettingofthe‘Crucifixus’intheMissa solemnis.
ThegrimpathosoftheensuingAllegroyieldsbriefly
toacontrastinglyricalsecondsubject,whichslows
thetempotoadagio.Thismelodicgesturesuggests‘a
softglimpseofsunlightilluminatingthedark,stormy
heavens’,intheimageryofThomasMann’scharacter
WendellKretzschmarinhisnovel Doktor Faustus.In
therecapitulation,Beethovenextendsthispassageto
foreshadowthesublimeatmosphereofthefinale,an
extraordinarysetofvariationsinCmajoronalyrical
themelabelledArietta.
AsthevariationsoftheAriettaunfoldinthesecond
movement,therhythmicdevelopmentbrings
transformationsincharacter.Theextrovertedenergy
expressedinthejagged,accentedrhythmsofVariation
ThreeisreshapedinVariationFourtobecomeaneven
fasteryetsuspended,inwardpulsation.Theoutcome
oftheprocessofrhythmicdiminutionisreachedinthe
cadenzaprecedingthefifthvariation.Timeseemsto
standstillasthemusiclingersonprotractedtrills.For
once,themovement’sconstantCmajorisleftbehind;
aclusteroftrillsglorifiestheshifttoEflatmajoranda
vastregistralgapopensbetweentrebleandbass.The
originalthemereturnsinVariationFivetogetherwiththe
rhythmictexturesfromprecedingvariations.‘Being’and
‘Becoming’aremergedhereintoaunifiedstructure.
Variouscommentatorshaverightlyperceiveda
philosophicalandevenreligiousdimensioninthisgreat
work.Thedichotomyembodiedinthetwomovements
ofOp.111hasbeendescribedintermsofthe‘Hereand
Beyond’,ortherealandmysticalworld.Itssymbolism
hasthreeprincipalmoments:theacceptanceand
resolutionofconflictembodiedintheAllegroand
transition;therich,dynamicsynthesisofexperience
projectedintheensuingvariations;andthesurpassing
innerclimaxinEflatmajor.
Beethoven’slastpianosonataisamonumentto
hisconvictionthatsolutionstotheproblemsfacing
humanitylieeverwithinourgraspiftheycanbe
confrontedbymodelsofhumantransformation.Among
Beethoven’sworks,Op.111assumesaspecialposition,
reachingasitdoesbeyondthemerelyaesthetic
dimensiontotouchthedomainofthemoralandethical.
Programme notes by Professor William Kinderman © 2007
28
DanielBarenboimwasborninBuenosAiresin1942to
parentsofJewish-Russiandescent.Hestartedpiano
lessonsattheageoffivewithhismother,continuing
tostudywithhisfatherwhoremainedhisonlyteacher.
InAugust1950,whenhewasonlysevenyearsold,
hegavehisfirstofficialconcertinBuenosAires.The
BarenboimfamilymovedtoIsraelin1952.Twoyears
later,inthesummerof1954,theparentsbrought
theirsontoSalzburgtotakepartinIgorMarkevitch’s
conductingclasses.Duringthatsummerhealsomet
WilhelmFurtwänglerandplayedforhim.Furtwängler
subsequentlywrotealetterincludingthewords,‘the
11-year-oldBarenboimisaphenomenon.’In1955Daniel
Barenboimstudiedharmonyandcompositionwith
NadiaBoulangerinParis.
DanielBarenboimmadehisdebutasapianistin
ViennaandRomein1952,inParisin1955,inLondonin
1956andinNewYorkin1957withLeopoldStokowski
conducting.Fromthenon,hemaderegularconcert
toursofEurope,theUnitedStates,SouthAmerica,
AustraliaandtheFarEast.Hemadehisfirstrecordings
in1954andsoonbeganrecordingthemostimportant
worksinthepianorepertoire.Theseincludedcomplete
cyclesofthepianosonatasofMozartandBeethoven
andconcertosbyMozartbothasconductorandpianist,
Beethoven(withOttoKlemperer),Brahms(withSirJohn
Barbirolli)andBartók(withPierreBoulez).
Duringthesameperiod,Barenboimbegantodevote
moretimetoconducting.Hiscloserelationshipwith
theEnglishChamberOrchestra,whichbeganin1965,
lastedoveradecade,duringwhichtimetheyperformed
frequentlyinEnglandandtouredallovertheworld.
Hemadehisdebutasaconductorwiththe
PhilharmoniaOrchestrainLondonin1967.Between
1975-89hewasMusicDirectoroftheOrchestre
deParis,histenuremarkedbyacommitmentto
contemporarymusic,withperformancesofworksby
Lutosławski,Berio,Boulez,Henze,Dutilleux,Takemitsu
andothers.Hemadehisoperaconductingdebutin1973
withaperformanceofMozart’sDon Giovanniatthe
EdinburghInternationalFestival.HemadehisBayreuth
debutin1981andwasaregularvisitortherefor18
years,until1999,conductingTristan und Isolde,theRing
cycle,ParsifalandDie Meistersinger.
In1999DanielBarenboimandEdwardSaid,the
Palestinianintellectual,writerandprofessorof
comparativeliterature,whodiedinSeptember2003,
foundedtheWest-EasternDivanWorkshopwhicheach
summerinvitesyoungmusiciansfromIsraelandthe
MiddleEasttoworkandplaymusictogether,forming
anorchestra.TheworkshopfirsttookplaceinWeimar,
theninChicagoandhasnowfounditspermanenthome
inSeville.InAugust2003theorchestraplayedforthe
firsttimeinanArabcountryinthecityofRabat,atthe
personalinvitationoftheMoroccanKing,Muhammed
VI.Theworkshopdoesnotwishtoexpressanypolitical
statements.Inthisinstance,music-makingismeantto
setanexampleofthedialogueofcultures.
AttheendofOctober2002,DanielBarenboimand
EdwardSaidreceivedtheprestigiousPrinceofAsturia’s
AwardforConcordintheSpanishtownofOviedoin
recognitionoftheirendeavourtowardspeace.Later
in2002,DanielBarenboimwasawardedwiththe
TolerancePrizebytheEvangelischeAkademieTutzing
andreceivedtheOrderoftheFederalRepublicof
GermanybyPresidentJohannesRau.InMarch2004,
hereceivedtheBuber-RosenzweigMedal,andinMay
wasawardedwiththeWolfPrizefortheArtsinthe
KnessetinJerusalem.
DanielBarenboimhaspublishedtwobooks:his
autobiographyA Life in MusicandParallels and
ParadoxesthathewrotetogetherwithEdwardSaid.
RecentlyDanielBarenboiminitiatedaprogramme
formusicaleducationthatwillbedevelopedinthe
PalestinianTerritories.Theaimistoteachmusicin
schoolsasaconcepttobeusedthroughoutthewhole
educationprocess.Barenboimisalsocommittedto
helpingtheNationalConservatoryofMusicestablisha
fullPalestinianYouthOrchestra.
In1991DanielBarenboimsucceededSirGeorgSolti
asMusicDirectoroftheChicagoSymphonyOrchestra,
arolethatherelinquishedinJune2006.In1992he
becameGeneralMusicDirectoroftheDeutsche
StaatsoperBerlinandinautumn2000,theChief
ConductorforlifeoftheStaatskapelleBerlin.Since
thebeginningofthe2006/07seasonhehasbeen
developingacloserelationshipwithLaScala,Milan.
daniel barenboim biography
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