I shall be a bit adventurous and indulgent to nick named this Sonata as a "Middle Child" Sonata. My reasoning (whether they hold water or not as I consider myself too novice and amateurish in classical music compared to the many esteemed scholars as this is hobby craft and strictly pro-bono in my case) is manifold other than numeracy if you could hold your horses on your comments and read on first.
Of the 5 sonatas Beethoven wrote for this genre, only the 3rd has 4 movements instead of the usual cookie cutter 3 movements. A Scherzo was added as the second movement and this additional movement is no incidental movement as Beethoven has sprinkled it with a number of notables. Instead of a slower or more contemplative movement after the vociferous first movement, this movement is lively without being attention seeking. It nicely continues to develop the theme introduced in the first movement in a very Beethoven manner like he did for his 5th Symphony which was written around the same time. He also put in a gymnastic for the pianist by introducing a changing of hands in the tied note which should be a visual feat for the audience especially for the more visual pianist of our time like the legendary Lang Lang. One of Beethoven's pupil Czerny noted that this was most probably added to create a vibrato effect on the tied note. Of the recordings I have heard so far, only the Hardwood/Berner stated specifically in their liner notes that they are playing according to this notation. Many modern pianists would most probably skip this notation as it is not only more difficult to execute on modern day piano but makes little difference on modern day piano as I am made to understand. On listening to the Hardwood/Berner recording I could not hear the difference but I am only an amateur. If you were to listen till mid way into the second movement, there is a longish single note written to test the cellist's skill and patience as it is also tempered with a vibrato. Must be some tired fingers on the left hand for the cellist for what would seems like an eternity.
Thematic development in this piece is so obvious of Beethoven's work from this period of his life onwards starting perhaps with his 5th Symphony where his art is most finely honed in my opinion. The simple theme from the first movement is fashioned into numerous connected forms that will baffle many. This is most probably further proof that this Sonata is most probably conceived in his mind between his 5th and 6th symphonies other than the Opus numbering suggesting so.
Beethoven is also a master in switching between an aggressive to melancholic tuneful serenity all within the same movement. This is quite evident for the 3rd movement of this Sonata as it starts like a slow boat to China but moves gracefully between melancholy and aggressive but in a less pronounced manner than in his 5th and 9th symphonies. Beethoven might have been a jack the rabbit motor fan if he were to be alive now as his pieces sometimes behave typical of hard ABS braking followed by sudden and strong acceleration forces but leaving his passengers in a magic carpet like ride without being nauseous. All these seems a bit contradictory but have a good listen and you will sase out what I mean.
This Sonata has no clear delineation between soloist and accompanist and this could be deliberate either to elicit the best out of both the cellist and pianist or to set the stage for a struggle between them. Even if Beethoven were to have the intention of setting the stage for a fight between the cellist and pianist, the fight must have been done so with the liquidity and graceful movements of ballet dancers. I have not decided myself on this matter after hearing quite a few versions repeatedly. Would highlight 3 versions where this is more obvious as the pairing is like a pairing of equal musical giants.
1.Rostropovich/Richter (1961)
2.Maisky/Argerich (1997)
3.DuPre/Barenboim (1970)
Rostropovich was vocal enough to warrant losing his entry permit back to his Russia motherland after migrating to US. It was only with a change in Russian leadership that paved the way for his return back to Russia and I am glad that he managed to spend his final moments on earth back in his Russia motherland. He is also the musician that played spontaneously at the Berlin wall when it came crumbling down knowing that it would further complicate his possibility of returning to Russia. As for Richter, he has said it openly that he only play pieces that he likes and not for his audiences when asked why he did not want to complete the recording of all 5 Beethoven's piano concertos. He has also done things like having Stalin walk out half way through his performance as a mark of disapproval of him but he said he was lucky that he did not 'disappear' like many who cross the path of Stalin have a habit of doing so. Many of us did not notice that more people died during the communist revolution in Russia than number of Jews that were murdered during the Holocaust. On the contrary, he was one of the pianist that was performing during Stalin funereal. Richter himself remarked that this must have been a joke of sort as he did not get Stalin approval when he was alive but did so in his death. I have listened to this version of recording but did not sense any struggle for limelight and the two giants seems to gel so wonderfully together. What a surprise.
Maisky himself has also served about 18 months in prison or what they term as re-education camp for god knows what the reason is and thereafter was welcomed into the arms of Israel. He was also a student of Rostropovich. His equal in this case comes from Argentina. Argerich is very talented but has a fast and furious temperament and at about 30% of her concerts were no show for the most trivial of reasons. She blends her spirit with the music and is not straight jacketed by technicalities but have a healthy respect for it. This version makes for interesting listening as you can hear the challenge for lime light in all 4 movements between Maisky and Argerich but it was done so tastefully that it makes for very spirited listening. Perhaps, this was the interpretation Beethoveen intended.
DuPre and Barenboim is a husband and wife teaming but lets not guess who wears the pants at home. DuPre was a highly regarded cellist during her short and challenging life on earth of about 50 years due to multiple sclerosis. DuPre's fame and her health challenges could well be a formulae or excuse for unruly behavior but she is just the opposite as fellow performers, conductors, studio staff have good things to say about her gentle and joyful demeanor. Barenboim is a notable pianist and conductor himself and also a very intelligent and good at managing talented musician. In this recording, I believe that Barenboim had played more or less a supportive part but not without putting himself on the pedestal when the part calls for it without out living his welcome on the pedestal.
Before I pen off, it is widely held belief that the middle child in the family is normally the forgotten child and thus it is not uncommon for middle child to go after the lime light on every available opportunity in my opinion. This is my reason for naming it thus. Other versions worth listening to are:
1.DuPre/Stephen Bishop (1965)
2.Wispelwey/Lazic (2004)
3.Hardwood/Berner (2006)
Good weekend.
Cheers,,,,,, Pete
Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye