Beethoven Piano Sonata no. 32 in C minor, op. 111

[furtwaengler]

(Here is the higher quality, 192 Kbps:

https://www.mediafire.com/?y5mzyjyqyty

The lower quality, 80 Kbps is uploaded to the site below.)

Sunday afternoon, February 18, 2007

This written in the form of a blog entry, chronicles my first and only attempt at presenting Beethoven’s op. 111 in recital, a harrowing experience complete with some fantastic mistakes (ode to live performance, warts and all). I look back on this which at the time was a preparation for the future, a preparation of a piece I knew was so much larger then I could hold (oh, but what a piece!). I am fortunate to work in an environment in which I can safely do this, and this was actually my debut as a soloist there (I had played recitals as an accompanist in this space as far back as 2003, before becoming the full time accompanist in the fall of 2006). This was a shared recital with a cellist you’ve already met…we played the Shostakovich Cello Sonata just beforehand, an heart wrenching edge of the seat thriller which left me overloaded with adrenaline. Indeed I was still shaking after taking an abnormally long intermission (and how terrifying it is, that fist plunge into the storm of Op. 111, knowing there's no turning back!), but this extra jolt, though it took me a few minutes to control, played right into my conception of the piece at the time, which I may be ably to summarize in Friedrich Löhr’s hyperbolic statement on Gustav Mahler’s piano playing:

Mahler rose inexpressively above  what his hands did. He could never have given an account of how he achieved what he did; every thought of technical difficulty was utterly canceled out; all was disembodied, purely contemplative, passionately and spiritually concentrated on all that, without conscious physical contact, passed from the keys into his being. In a way all his own, comprehending it with the energy and accomplishment of genius, bringing out every nuance, every shade of expression, he caused the music to ring out with all the force with which it had gushed forth from the soul of its creator. In Beethoven’s Sonata Op. 111 (No. 32), for instance, the storm at the beginning broke out in a terrible maestoso, shatteringly intense, with a wild ferocity such as I have never heard again; and similarly the finale faded out, pure, utterly luminous, in loveliest beauty, softly and softlier still, from closest touch with this earth out into eternity.

  (Bear in mind, Mahler was not such a talented pianist! Bear in mind his illusion to op. 111 in the finale of the 2nd Symphony! The identical mood of the “Ewiger” at the close of Der Abschied from Das Lied von der Erde with the close of the op. 111 finale! Was he reaching to express in his larger than life compositions what he couldn’t really express with his own two hands? Note two, the similar hyperbolic statements of his conducting Beethoven’s 7th or Die Walküre, much more plausible and justified!)  

You see that my dreams reach higher than I can ever attain; I was mildly disappointed that the walls were not on fire and the building was still standing at the close of the first movement, but then came the Arietta…oh bliss! To hold it in your hands is to step out into eternity, and for about 20 minutes I don’t know if I was conscious. It was an incredibly still glimpse of a realm without time (I'm one to get chills at the thought of time standing straight up), a music that is more than music (I’m stealing from Pianowolfi’s blog. Oh, I feel I should dedicate this whole thing to Wolfi who’s given me so much, and he doesn’t know it. Wolfi, I hope I hear you someday, improvising and playing op. 111 in a cave! I want to be there! Oh, the Arietta following the first movement storm…THIS is ABSTRACTION!) Where was I? The applause was jarring, like waking out of a beautiful dream fearing I may never be able to return to/remember. This piece comes with a certain pain of vulnerability (I start a support group for those who have played it!). I’ve never given more of myself then I did in this half hour moment, February 18, 2007. It is more me then any of the improvisations I‘ve posted, or even compositions I’ve not posted. It’s a raw snap shot of my musical soul, with all its scars through time, and all the quirks which are kind of like a pianistic speech impediment. But ah, Beethoven transcends all lifting me where I can't go.  

I’m adding a short, 50 seconds of my 93 year old Grandfather, who always has had an ability to speak profound things profoundly. This also, I link into the beautiful Arietta, which is just music of course.

Now STOP reading my too lengthy post and listen and devour Beethoven’s Op. 111!  

Dave

[pianowolfi]

Hi Dave, this is very touching, I will listen later, at the moment mediafire seems to be down or something and I want the high quality. I love that St.Paul's quote, it's one of my favorite ones, and the words of your grandfather!

Somehow I woke up early this morning, guess I sensed that something special is going on here

And I think yeah we will meet someday, would be really great! (*looking for cheap flights*  )
My girlfriend said just yesterday: you will meet Furtwängler someday...

Though, I might tell you that I wouldn't have the guts to play op.111 at the time, I just started slightly to step into a regular practice scedule again after more than a year of not regular practice at all. Oh well, there would be a lot more to tell you, guess I'd do better writing a mail

[goldentone]

Now there's an introduction.  I didn't know Mahler was a pianist.  That was a great quote on his playing.  Reading your introduction and listening to your grandfather's introduction, I felt like I was at the movies watching the previews before it started (I was quite excited to see the Opus 111 up.)  I loved your grandfather's introduction.  It was wonderful.  He reminds me a bit of A.W. Tozer, profound and dramatic, if you've ever heard him preach.  Judging by your grandfather's voice, his constitution must be remarkable; he sounds 20-30 years younger.

1st mvt:

One of the most fiery performance I've heard.  The music is alive.  6:00 to the end is so well-played. The coda is superb!

I may have waited longer to allow the turbulence to settle before starting the Arietta.

2nd mvt:

Your playing is such that my interest needs not waver in this effusive, intangible realm Beethoven is conveying to us in the span of 20 minutes, and I think that is no small achievement, and presents a principal challenge to the pianist.  Your playing has body, shape, three dimensions.  The section starting at 24:41 to 26:45 is an amazing part of the Arietta.  It feels like Beethoven, from the eternal realm, is reliving his life in the eternal experience.  There are passages and moments throughout where you touch the sublime (21:00-22:30, oh my!)

As I finish this post, I have finished my second listening.  There will be many more.  Thank you so much for posting this Furtwaengler, making quick on your promise.  It is so very satisyfing, and--wonderful.      

[pianowolfi]

Okay, mediafire seems still down, so I started the adventure from what I can get here.

It's an example of how I like music most: spontaneous, breaking borders, somehow radical, producing results that may surprise even the player himself, improvisational in the best sense. You know what you are playing, you know it so well, you're aware of the meaning of this music, of it's unique place in music history, but you don't let all this knowledge scare you. You just do it. Hats off!

Listening to op 111 is always something special to me. I have listened to many interpretations. I have never felt such a specific individual intensity before. And it's just right. It feels like this was just the right moment.

I *love* it. It's all I can say after all. I find your view and your rendition of this piece significant, important, meaningful, outstanding. "Es ist ein Ereignis". At least to me

I love reading what you have to say about Mahler, about many other things.

Well and, listening to the last variations of the Arietta, I just shut up.

Thank you!

 

[iroveashe]

There's not much I can say, since the piece and your interpretation both speak for themselves, besides that I loved it -- along with the spoken (your grandfather is way more lucid than mine) and the written intro (how did I not know that about Mahler?). Also nice that people didn't rush to clap like they do 99% of the times.

[rachfan]

Hi Dave

Absolutely magnificent!  I'm still stunned by your performance.  You play with a freedom, power and expressiveness that few could ever hope to attain.

David   

[furtwaengler]

Thank you all for the comments. I'm sorry mediafire has not been working for some. If it continues to be a problem I'll try rapidshare.

The time between movements was a deliberate decision, for two reasons. The last chord of the first movement ends near to the different world of the arietta, and with my view of the arietta as set in eternity, I wanted as little preparation of the first chord as possible...but a breath, as some leave this life whether they are ready or not. It's just a thought.

A like the time before clapping too, but note that a lot of the people did not know it was over. I even got a comment a week or two later from a respectable musician/composer who was in the audience asking me when I was going to present the rest of the sonata!

Thanks again for your really kind comments. I'm a bit blown away.

[pianowolfi]

Mediafire has worked now for me, I think it was just a temporary problem, usually it works fine
I hear so many details that I just *love*
I think this recording will accompany me for a long time

[quantum]

It took about 10 download attempts before I got the whole thing from mediafire.  It was sure worth the wait.  

The music is oozing with life.  Your playing reminds me early 20th century recordings - where passion is not squashed by uber urtextualiztion.  

Bravo sir!

[furtwaengler]

And thank you sir! I didn't choose "Furtwängler" for nothing. 

I'm sorry mediafire has been so cruel. What is the deal?

[emill]

Hi Dave,

Not an "academic" when it comes to classical piano; can't even discuss
whether a piece requires a little more rubato or not. All I can say is I loved
the way you played the Beethoven !! THanks....

btw...I have to agree with the "profoundness" of grandpa... excellent voice control!

[furtwaengler]

Ah, thanks! 

[slow_concert_pianist]

I have downloaded your performance, which I must say you UNDERSTATED admirably!!!

And right I was to suspect you were being coy, so I pulled up my Konemann edition Urtext score to aid my precision in appreciating the detail. And my this performance is jam packed full of positives. Beethoven would be proud I'm sure

But in the spirit of observation, out of respect of you as a performer, let us concentrate on the flaws. So.....

Why the huge variance of tempo in the opening Maestoso? Beethoven gives no indication that he wanted things so. When you are "a tempo" you are beautiful, but when you are not...well...I'll be kind....it just doesn't work. You also place an accent on the lead of the demi-semi quavor couplets, when Beethoven expresses a sf on the 2nd of the group. Play the opening in strict time & THEN improvise. That sounds like something you have "cobbled together". Nice in time entry to the 'allegro con brio ed appassionato', but even though schnabel plays it as fast, your interpretation felt slightly rushed.(both times!!!) & your bridge to the fugue at 'poco ritenente' was unconvincing (although you seemed to make a small adjustment on repeat). The fugue was...WOWWWWWWW!!!! Hells bells I doubt Beethoven could play it with such conviction. GOOD WORK.

You pedaled the base octave Eb concluding the sf's for the full bar. Even though my Konemann edition recommends this (as Beethoven's pedalling) I prefer to pedal for 2 beats or half a bar as the 'crotchet' notation is effectively implied in the performance statement. Plus the high Eb carries the harmony. But this is my personal approach. Everything is nice and right until the trills (Both times!!!! although the repeat is better).

What is going on here? You play the fugue as good as anyone, but we come to the trills and they are mostly, it seems to me, ill considered. You must always start on the note in bethoven's trills, but beyond that he is more or less identical to Mozart. You need to work on this section in isolation to get it up to performance standard. But going back to the "tempo 1", the slurs were unconvincing in the descending couplets, while at the end of this section, though you apply crisp sf's, it seemed rushed (consistent with you confusion around the trills).

You got it together well in the inner part trills section. It wasn't beautiful, but it was nice. You do not seem confident in the way trills interlace with the other parts, but I'll forgive you;) The section from measure 84 was RUSHED. But having said that your rendition was effective and I believe Beethoven would have been surprised....but dazzled

From measure 122 your problems start again. The bridge to the meno allegro was ABSOLUTELY unconvincing & that needs to go back to the drawing board. Even though Beethoven scores the groups of 6 as meno allegro, I can find no way of achieving the required effect much short of 'a tempo'. Your groups of 5 sadly are ill conceived. You seem to be "filling in" here. Beethoven is presenting the eye of the cyclone here. That's how it needs to be played. Again no real SHARP couplets at "tempo 1" (measure 132). However - a miracle.....your trills improved slightly...hmmm just slightly, this time! Bar 148-158 are the hardest in this movement. Take them in isolation. You need to produce a perfect expressivo in the right hand that never conflicts with the piano 'perpetuum modum' in the LH. Hell on toast to produce effectively.

I don't play the variations so I didn't listen to them, but I will do at another relaxing moment.....uhmmm WITHOUT the score