Beethoven: Sonata No. 23 in F minor, Op. 57 ("Appassionata") | Boris Giltburg | Beethoven 32 project
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- Опубліковано 3 жов 2024
- Beethoven, in his core, is a composer of light, his music uplifting and life-affirming. But in a few works he addressed the darkness with a mastery just as absolute, giving us within the sonata cycle the Pathétique, Moonlight, and perhaps most vivid of all, the Appassionata.
The tension in the beginning is almost physically palpable, a coiled spring of dotted rhythms as the hands move in austere unison down and up the keyboard (it is only Beethoven’s magic touch that can transform something as mundane as an arpeggio - a broken chord - in a device of immense dramatic power). A trill - a shimmering shiver, more psychological effect than substance - completes the opening phrase. It is immediately repeated half a tone higher; a new, colder colour brought into the mix. The opening notes of the two phrases - D flat and C - then unite to form the famous four-note fate motif (0:38), not so much a menace but a doubtless promise of the eruption to come.
When we think we can’t stand the tension anymore, the music finally explodes in a raging passage of semiquavers, followed by barrages of fortissimo chords, pummelling the keyboard with wrath and abandon. This constant pull between frozen, static tension and searing hot outbursts of rage forms the body of the movement. Small islands of calm are present, for instance in the second subject (1:40) - thematically just an inversion of the opening broken chord - but they are very short-lived, leading every time back to one extreme or the other. There is no real respite within the movement.
The development section ends on a powerful climax which rushes down the keyboard into a particularly enraged and agonised repeated hammering-out of the fate motif (5:08). The last repeat dissolves into a roiling pulsation of triplets in the left hand, over which the opening is then repeated in full. This is pure genius: Beethoven not only creates tension which is extreme even by the standards of this tension-filled movement. He does it while also upsetting one of the core tenets of the sonata form: the warm feeling of homecoming and recognition we expect from the reprise. Here we certainly recognise the opening lines, but there’s nothing comforting in them; rather, we soberingly realise that this probably was their intended character all along.
After the reprise, a long quiet episode builds the tension towards the biggest climax of the movement (8:22), but even that is not the end. After the climax dissipates, a few pensive repeats of the fate motif lead into the coda, where the theme of the second subject changes into a minor key, becoming an imploring plea. But fate is not to be assuaged, and a real battle erupts between the hands, as they are vying for dominance using a truncated version of the fate motif (9:29). The battle’s aftermath, perhaps unexpectedly, is quiet and once again frozen, static, as if snow covers the scene, removing everything from view.
Similarly to the Moonlight and the Pathétique, Beethoven includes an oasis of respite in the second movement (10:08). It is a set of variations in D flat major, on a theme which, unusually, combines the deeply devoted feeling of a chorale with the dotted rhythms of a march. The variations increasingly add flow and life to the theme, while also pulling it away and up from the lowest reaches of the keyboard. After the third variation the music descends back and the opening chorale/march is repeated in full. This time, its ending is subverted, leading into a false cadence on a diminished seventh chord (16:24). This cues an immediate return of creeping tension in anticipation of the finale…
… which starts without a break, with insistent fortissimo repeats of the transition chord (16:30). A series of aborted phrases then leads into the finale proper: a dark, shadowy soundscape constructed of never-stopping semiquavers. The finale is full of a sense of danger, tangibly standing on the brink of disaster. Beethoven chooses the sonata form as a vehicle for this narrative, adding an unexpected repeat of the second (rather than the first) part (20:50). On the surface it is just an experiment with the sonata form, but in terms of dramaturgy, it’s a strong narrative device: I see it as an attempt to stave off the coda, with its impending doom. When the coda does, inevitably, come, whatever we feared is finally upon us. A kind of desperate dance at first (23:44) the bulk of the coda is a tragic denouement, with the music forcibly rising in waves to bury everything underneath it. In the memorable words of the great British musicologist D.F. Tovey, these pages are a ‘rush deathwards’; an unforgettable ending to one of Beethoven’s darkest - and greatest - works.
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Beethoven 32 - Over the course of 2020, I have learned and filmed all 32 Beethoven sonatas. Subscribe to this channel or visit beethoven32.com to follow the project.
Boris Giltburg, piano
Filmed by Stewart French
© 2020 Fly On The Wall, London
@FazioliPianos
I. Allegro assai - 0:09
II. Andante con moto - 10:08
III. Allegro ma non troppo - Presto - 16:30
Das ist einfach ganz stark gespielt, ein Pianist, der sich ständig weiterentwickelt..... Einfach toll....
I have never been so simultaneously depressed yet invigorated by hearing a performance, your interpretations of Beethoven are among the very best in the world.
Bravó bravisimo el mejor interprete dr lad 32 sonatss de Brethoven Gtacias
You are something and a half, Mr Giltburg. That was wild!
Your touch on the piano is very special, very rare and very delicate, you make it really singing! The texture is crystal clear, like water in a fountain! Great enjoyment! Thank you, may you ever be able to keep this talent!
СОВЕРШЕННОЕ исполнение! Благодарю Вас, маэстро!!
Meilleure remède contre la morosité de cette époque de covid. Félicitations et Merci .
It is a privilege to see a wonderful video like this. I will often see this preciousness. I love the sound of a good piano, especially when played perfectly. Bravo ♥️♥️♥️♥️♥️👏👍
Thank you!
Very terrific performance.....
This has to be one of the very best intrerpretations that I have ever heard... The first movement especially is just incredibly good and so full of emotion!
Thank you!
Wow. Brilliant and beautiful, and you seem to be truly enjoying yourself. I read with pleasure that you said “It’s not a job.” As András Schiff says, “It’s a privilege; it’s communication; it’s love.” You seem to personify this. Thank you!
Unbelievably beautiful!
Thank you!
Appasionata doesn't mean love or passion here, it really does struggle, struggle against the fate itself that Beethoven had to deal in his life and perhaps the struggle which a performer has to deal with this overwhelming sonata. Thanks again for sharing the Appasionata with us, Boris, in this journey by the 32 piano sonatas
With pleasure!
Bravo again. All of the huge dynamic contrasts in the first movement are so wonderfully rendered here, as well as the temporal space. And thank you for “ma non troppo”ing the third movement. I thought your tempo choices were perfect. I’ve heard dozens of recordings of this, and your performance stands with the very best. This whole series is such a delight, and your performances of the middle-period sonatas are so profound, I am drooling with anticipation for the late-period material. Thank you thank you thank you.
Many thanks! Getting closer to the late period :)
Bravo Boris. La Appasionata muy buena. Gracias por ofrecernosla
Bravo Boris. La Appasionata muy buena. Gracias por ofrecernosla
hermosisimo!!! appasionata siempre nueva y eterna. muchas gracias Boris.
Pure music with the soul touch.
Fantastic!
Thank you!
This guy's so good.
Grande Boris!!! Extraordinario!!! Bravo!!!
Спасибо! Это счастье услышать такое исполнение! Как будто только что написано.
Громадное спасибо!
Omg bravo bravo, such a lovely ending to this furious piece. I really loved your interpretation of the 3rd and 2nd Movement, that transition of 2nd movt to 3rd movt was amazing. And the ending of 3rd movt just gave me chills down my body. THNX A LOTTTTTT😁😁😁🥰
With pleasure! Glad you enjoyed it!
It is really an extraordinary performance. 👏🏻👏🏻👏🏻 I forgot to breath during second movement and was blown away by the third!
A great pleasure to listen your Performance.....I like it so much🎹👏
This is the first piece of music I recall hearing live. I was still at school and it was completely new to me. It made an impact I remember 40 years later.
Thank you Boris, this is a truly great performance!
Thank you!
Boris Giltburg is the second Glenn Gould but with fulness of european culture
Je vuelto a deleitarme con esta maravilla, hermosa sonata y Boris Giltburg le da el sentido Beethoveniano perfecto. Felicitaciones y gracias de nuevo querido Boris👏🏼👏🏼👏🏼👏🏼🎶
Correction:* He vuelto a deleitarme...
you are legendary pianist
, the best interpretation of Appassionata that I have ever heard
I loved your 3rd mov. interpretation
I listen to your interpretation everyday from the day you post it on youtube
Many thanks!
Qué lindo bravo Boris Giltburg 👏👏👏👏👏👏🎹♥️♥️♥️
Great Boris, I feel that this is the best interpretation of l'Appassionata that I have ever heard, and I have heard many. I was really interested in how your interpretation of passages 18/23, 156/160 of the first movement would be like, and It is the first time I feel them executed in an exquisite way, with just fortissimos, without the impression of a succession of trampled chords, which always seemed to me that it was not the best way to execute them. Thanks you very much and my best wishes for you!!
Thanks so much!
Qué intensidad emocional! Drama, delicadeza, furia...todos los sentimientos confluyen en esta obra monumental. Muchas gracias por su interpretación!
I will never get tired of congratulating you and supporting you, i always love your descriptions, thanks
And of course, your interpretation!
Thank you!
Bravo! Superb !
Magnificent performance! Bravo, bravo! 👏🏻👏🏻👏🏻
Во истину величайший пианист современности.
And the 3d movement is just mind blowing.
The filming is amazing and the whole project is a great gift to all of us!!! Bravo, bravo, Boris ❤️
Thank you!
BRAVO !!!!!!!!! Kazakhstan 🇰🇿
At 10 I had a melodia record by Richter playing this piece and it totally mesmerized me ( in 1975 or so). I really don't know how I got that record or the record player. From that age on I was totally devoted to classical music but knew I would never be able to play these pieces myself (and I was right). But I studied classical piano anyway and I still am... Boris is as good as Richter or better (I can't judge that anymore since I grew older than 10, sorry...). Beethoven is the real hero though, through the ages. As are several piano manufacturerers.
Delightful interpretation. The ending especially was spectacular.
Eduardo Poblete de Chile, sublime, que fuerza, temperamento y una armonía que no se pierde a pesar de la energía que le entrega a la interpretación, es la mejor Apassionata de los últimos años, gracias Boris, por este regalo.... felicitaciones....
excellent
Amazing!!!!!😆👍👍👍
Currently I am learning this sonata, the 1st movement. And my friend is learning the 3rd one of this. So I shared this video with her. I saw your concert notice in Seoul this December, looking forward to it:)
Excellence , Bravo 👍
magnifique! Bravo!
bravo!!!!!!!
not classical, but gorgeous
A wonderfull rendering, you sound is amazing! I really enjoyed this! Thank you!!!
With pleasure!
That's a really beautiful and perfect interpretation.
Perhaps, the best interpretation of this Sonata on UA-cam.
Please keep on delighting your audiences with such performances.
How many hours do you practice a day ?
Thank you! Usually around 8 hours, more before a concert or recording.
That's amazing. Thanks for the reply.
@@BorisGiltburgPiano how do you divide all those 8 hrs in a whole day?
great - I skipped to the accelerando ending to see if there was a big enough difference between the tempi (the best I've found is Gulda's). This was very good, too. Just a pity Beethoven had to write the Moonlight ending for a second time for this sonata! As a student of Beethoven (6th generation) I rate this as one of his very greatest musical achievements. However, Glen Gould never liked it... Maybe he should have heard Giltburg's excellent rendition! ..
תודה על העונג של הניגון שלפי דעתי אחד מ 3 הטובים ששמעתי ובמיוד על תבונת קריאת הסונטה. כבר שמעתי את וורסיה שלך פעמיים כדי להיתרכז על חלקים נבחרים. ראיתי אותך גם ב INTERMEZZO ששם שמך כתוב בטעות BITBURG. תודה, תודה.
הרבה תודה! שמח שאהבת
@Boris Giltburg despite I don't like so much your style of absolute control, your interpretation is the 2° ever best for exams (the first is Perahia), instead in the list of best recording for me you are the 4°
Arrau/Brendel 1°
Perahia 2°
Pollini/Gilels 3°
Giltburg 4°
Barenboim 5°
Kempff 6°
Kissin/Lugansky 7°
Instead for the worst version list
Lisiszta 1°
Horowitz 2°
Richter 3°
Lang 4°
Instead considering only mvt I I think that, without considering my disappointment for your style, you did the very best, due to outstanding precision , such that I think that you did good as Perahia.
Obviously this comment it's not a critique but only congratulations, also because you're positioned pianist and I'm only a student at second year of Santa Cecilia Conservatory. Btw, thanks for your recording, I'll listen the cycle continuing from my favourites (and for you what's the list of your 5 favourites? For me 23, 14, 31, 32 & 29)
Believe it or not (you almost certainly will not believe it...yet, anyway) but the 3rd movement is meant to approximate hiphop. Literally hiphop. (Same for Moonlight's 3rd. Literal hiphop. Not proto-hiphop, no. Weirder than that. In the same way that Sonata 32's 2nd movement contains that stretch of literal early 20th century American jazz. Literal. As if time travel were somehow involved. Ahem, lol.) For an idea of how it should be played, consult the fast rendition Inbar did two years ago. The trick is not to "expressively" stray from the beat. So that if it were the latest bop dropped in a studio, you ought to see Jay Z and Kanye passionately bobbing their heads with a stinkface.
Inbar's accidentally-perfect hiphop version: ua-cam.com/video/30ioWA6K4AI/v-deo.html
Terrible camera work. Please buy a tripod.
That's a feature, not a bug :) fotw.london/about
I thought the camera movement was kind of nice haha