This is my first work in Coursera ;-)
The evaluation period has started this morning.
----------------------------------------------------------
Note to reviewer(s): All links will open in a new window and will start from the moment I want to quote. There are no scores.
Just click the words in blue to listen ;-)
----------------------------------------------------------
1. Which sonata did you select? Please provide a link to the recording.
Op. 2 No. 3 (Piano Sonata No. 3 in C Major) by Beethoven: http://youtu.be/TFotWwwvUEU
----------------------------------------------------------
2. The ways in which it seems to conform to Opus 7.
1) Both sonatas are written in a Major Key and with the first movement in a similar mood, which is very clear to follow - indicated "con brio" - a brilliant allegro (or Molto Allegro in case of Op. 7).
2) Both sonatas are built through four movements instead of three: Allegro - slow movement - Scherzo - Finale.
3) The majority of the slow movements are written in minor keys, but both of the two sonatas have the slow movements in a Major key. They are expressive but not infernal or in any melancholic or dramatic way.
4) Op. 2 No. 3, the C Major sonata, is to me as large as Op. 7, not only in their dimension, but also in the sense of speaking on his own. To show that, I suggest to take a breve look at the opening theme of each of the four first sonatas (three of them published under Opus 2). I mean, what we will hear FIRST in these early works:
Op. 2 No. 1, the sonata in F minor, starts with a popular style of that time - "Mannheim Rocket" (audio explication here), which was also used by Mozart, Haydn... and including much later, Schubert in many of his early works.
Op. 2 was dedicated to Haydn, and we hear "Haydn" in the second sonata - Op. 2 No. 2. Doesn't the first phrases remember you of Haydn's Sonata No. 60 in C major? There is the same type of a carefully conserved humor and the same type of rhythm or silence use.
So I think these two initial motives above wouldn't surprise the audience neither in term of style or in material. Then, the case changes when we move to Op. 2 No. 3 and Op. 7:
Firstly, both are technically more demanding. I don't say they are difficult but they need much more attention from the pianist. The third sonata starts with double thirds and in piano, which demands a very good control. The fourth sonata requires a precise tempo design, it indicates tension, but in piano, and it cannot be played in a March style or as Presto. Evidently, the bass was totally new to the audience of that time.
Secondly, Beethoven used these opening materials again in his later sonatas, which might show his proving of these early experiments:
Op. 7 reappeared in the famous Op. 53 ("Waldstein")
Op. 2 No. 3 is developed in Op. 22 (sonata No. 11)
It is true that the mini-attention I have paid to the very start of each sonata cannot make a fair judgement of its whole value. For example, actually every sonata has a second theme of Beethoven's own style which I have omitted. And "Mannheim Rocket" also appeared later in other works of Beethoven, including the emblematic "Tempest" sonata. What I have mentioned on the first two sonatas does not mean any immaturity - Not at all. It shows nothing more but a starting effect of these four sonatas - the first two might be more familiar to the listeners than Op. 7 and Op. 3 No. 2. But as we all know, the surprise may come much later : ) A very good example should be the last movement of Op. 2 No. 1, Prestissimo, rarely mad and wild expression and without dropping such a lovely middle section! Op. 2 No. 2 has a very lovely development and recapitulation, which is just simple and genius!
----------------------------------------------------------
3. The ways in which it is different.
1) Op. 2 No. 3 has cadenzas in the first movement (both in the Development and in the Recapitulation, just before Coda), and they are quite similar to the opening cadenzas of the "Emperor Concerto" (Op. 73) which came much later in the composer's life.
Opus 7 has no such feature.
2) The fourth movements are completely different in character. Op. 2 No. 3 has a finale "assai", in a lively 6/8 beat, like a very good waking up in the morning with fresh air and a clear will to explore a new day. It is in Rondo form, but seems more like in the spirit of a Scherzo.
Meanwhile Op. 7's last movement is lyrical and "grazioso" at the same time, like a type of mixture of Schubert with Mozart. It also remembers me of the fourth movement of "Spring" - Beethoven's sonata for violin and piano in F Major (Op. 24) and inevitable some popular rondo movements of Schubert.
3) Then the second movement. Though both are written in a major key. They differ quite a lot one from each other in music. Op. 7 has the tempo marking "Largo", which means broadly, like sunrise or sunset in the horizon. You don't wait. You just follow. It is not only slow, but also immersing. The 3/4 beat marks a calm atmosphere which we could feel also in the slow movement of Tempest sonata, or in the great Adagio of Op. 110.
PS. The notable silence phrase in Op. 7 is identical to the remote and repeated bass in the Tempest.
Op. 2 No. 3, on the contrary, was not directed this way. It is "Adagio", in 2/4 beat. It is slow but not necessarily solemn. It is unquestionably beautiful, so vocal that you will sing. But it is not expected to strive a deep humanity inside.
----------------------------------------------------------
Thank you for your time in arriving here.
Hope you have enjoyed the music and ignored my English : )
----------------------------------------------------------
References:
Point 2-4): "Mannheim Rocket", Andras Schiff's lectures on Beethoven Sonatas
Point 3-1): Cadenzas in Op. 2 No. 3, Andras Schiff's lectures on Beethoven Sonatas
----------------------------------------------------------
PS. A personal preference
To me the early sonata Op. 2 No. 3 gives directions, where I can see firm safety and feel no distance - like in Schubert's Wanderer Fantasy and the first Piano Concerto of Beethoven (incidentally I haven't found until now that both works are Op. 15 - what a coincidence). And all the three works are in C Major, which should not be coincidence...
No comments:
Post a Comment