BBC Prom 64. Beethoven. Piano sonata No 30,31, 32
Sir András Schiff (on the photo) came back to the Proms to perform Beethoven’s final three Sonatas, to a full audience at the Royal Albert Hall.
The concert started with a lucky surprise, as Schiff opened the 64th Proms with a bonus performance of Bach’s Prelude and Fugue in E major from Book 2 of the Well-Tempered Clavier. His choice to perform this work reflected his deep understanding of the emotional journey of the final three Sonatas, as they were composed in parallel during the time in which he also composed sacred works such as Missa solemnis; and Schiff was keen to point out the significant inspirations from J.S Bach.
The Opus 109 Sonata continued in the same key as the Fugue and invoked a journey of juxtaposing emotions. The opening movement began with delicate touch to depict a melody of broken harmonies between two hands to sound like fluttering birds, followed by a lyrical duet, which was soon interrupted by a striking chord, followed by an arpeggiated sequence. These contrasting elements of the movement were interpreted remarkably, with each note being played with great attention and care.
The second movement depicts an intense outburst, however, was performed without any forceful sound but with great clarity and expression. The finale of the sonata was a rather peaceful reconciliation to the previous movements, starting with a slow melody which increased in depth in texture through counterpoint which were played with Schiff’s clear voicing and bass-line melody being brought out, much like his interpretation of Bach.
The Opus 110 Sonata is a rather emotionally distressing journey; it opened with a warm melody, and a lot of fast technical finger movements which were handled so elegantly to sound lyrical. This is followed by a supposedly humorous second movement which was depicted well through the contrasting and sudden changes in dynamics and tone. The final movement of the sonata begins in despair and is followed by a fugue. The gradual development of the emotion from a sombre tone, which becomes triumph towards the end was expressed brilliantly, and the audience could not resist to clap at this point.
The final sonata is composed of two contrasting movements, starting with a Maestoso which introduces the piece like a French overture in the Baroque style, much like Bach’s Partita, also in C minor. This carries onto a fugue after a bold statement of a theme in octaves which creates a nervous atmosphere. Schiff showed his exceptional technique to bring out each statement of the theme clearly; each note of each voice were heard clearly and accurately.
The Arietta which followed started as a slow and simple movement, but gradually increased in complexity and speed. However, ended with a rather subtle tone, with continuous trills and low tremolos which had an effect of shimmering into nothingness, towards the ending, to depict a farewell to the sonata.
Shoko Higashitsuju,
musician & reviewer
Beautifully written!
ReplyDeleteI accidentally stumbled upon your articles and I can't tear myself away from reading them. I would really like to listen to the concert live!!
ReplyDeleteIts possible, Maria! At the top of the review you have a link. Copy and goole it.
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