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

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“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: dvd@selectmusic.co.uk

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.

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mollisultricies.Aliquamhendrerit.Nuncaugueodio,

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sem.Maecenasdictumtinciduntmetus.

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sapien.Donecdignissimaccumsanlorem.Fuscepurus

enim,iaculisin,condimentumvel,tinciduntvel,purus.

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penatibusetmagnisdisparturientmontes,nascetur

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semperpede.Suspendisseenimlacus,mattisquis,

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diam.Donecmalesuadadignissimest.Etiamrhoncus,

sapiensedtempusbibendum,felistortorpulvinarest,

nontinciduntpurustortorutaugue.Curabiturdiam

tortor,suscipittristique,convallismattis,conguequis,

justo.Aeneanvelnibhveltellusmolestiehendrerit.

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aerostinciduntultrices.Fuscepulvinarmolestienulla.

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arcuurna,iaculissollicitudin,euismodvel,commodo

semper,metus.Aeneanfacilisisegestassapien.

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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.

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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