Beethoven: Sonata No.21 in C major, Op. 53 ("Waldstein") | Boris Giltburg | Beethoven 32 project
ฝัง
- เผยแพร่เมื่อ 1 ต.ค. 2024
- From two of Beethoven’s lesser sonatas (Nos. 19-20) to one of his greatest - Sonata No. 21, Op. 53, known as ‘Waldstein’, after its dedicatee, Count von Waldstein, a close friend and early patron of Beethoven. It is very tempting to talk of watershed moments - perhaps only visible to us in hindsight - but the Waldstein, its every note radiant with inspiration, is surely a landmark in Beethoven’s development, as well as in the development of the sonata genre in Beethoven’s hands.
The Sonata falls into two distinct parts: the energetic, taut as a wound spring Allegro con brio on one hand, and the expansive, poetic, highly imaginative finale with its slow introduction on the other. The very beginning of the first movement is pulsation made melodic, brimming with barely contained energy - the long row of repeated notes seemingly straining against the imposed metre, only content once they arrive at the short melodic figure in bar three. It is immediately repeated higher up, forming a micro-dialogue before the main theme is relaunched, a full tone lower than in the beginning, adding colour to what is usually a neutrally coloured key (no sharps, no flats).
That short, melodic figure proves important later on, as Beethoven builds half the development section around it - first as an imitative narrative, then in a veiled, pianissimo section, and finally as material for a wonderful build-up, from a mysterious (though always driven) half-whisper and up to a blaze of brilliance leading back into the recapitulation. The other half of the development, incidentally, is built around a minor transition motif from the exposition, that Beethoven takes out of its anonymous existence and puts centre stage, repeating twelve (!) times with nearly manic insistence in a wildly modulatory section. This is one of Beethoven’s hallmarks: taking tiny musical building blocks and developing them beyond the limits of their perceived potential.
The second movement, a very slow atmospheric introduction to the finale, is at its heart a similar exploration of the opening motif - a longer note followed by an ascending intrval, the three bound by a dotted rhythm. Beethoven never hides his interest in the motifs he develops, and here, too, it is made obvious in the last third of the movement, as the motif is stubbornly repeated, building up to a climax, and then descending, gradually calming down before the seamless transition into the finale.
The finale’s opening presents us with what was (intentionally, I believe) missing from the first movement - a long melody of true poetic beauty, earning the Sonata its second, much more artistic nickname, ‘L’Aurora’ (‘The Dawn’), as its gentle caress seemed to evoke the first colouring of the sky at daybreak. And day breaks indeed, with the sun appearing in all its glory above a blazing trill and a burst of energy in the left hand.
A string of episodes follow, most of them boisterous, one remarkably hushed and atmospheric. The final episode, an unstoppable wave of thundering semiquaver triplets, leads into a frenzy of a coda. There, everything is extreme: the tempo (the indication, prestissimo - the fastest one there can be - a marked contrast to the uncommonly held back Allegretto moderato of the movement proper), the dynamics, the accents, and, not least, the technical difficulty, culminating in an entire section of octave glissandos, which on modern pianos - their keys much heavier and deeper than those of Beethoven’s keyboards - often require inventive solutions. But even in Beethoven’s time this passage must have been a case of his showing off. Rather than a more common unmeasured sweep of the keyboard, here the glissando is to be played pianissimo, in strict measure, with both hands, and to make things worse, with a controlled stop in the middle of the line. So it was a double victory for Beethoven: a chance to showcase his extreme mastery of the keyboard, while enchanting the listeners with a hitherto unheard sound effect.
Following the glissandos the frantic energy suddenly peters out, and the theme appears several times above a pianissimo trill and a gently flowing left hand. My teacher, Arie Vardi, used to say of this part of the work that ‘material melts and becomes spirit’, and it rings very true to me; this forms an unexpected connection with Beethoven’s last sonata, Op. 111, as both this use of a trill - not ornamental, but part of the music’s core - and the concept of material-into-spirit will play a major role in that Sonata’s second movement. Here, however, it is just a passing, though highly effective episode, whereupon the dazzling energy returns and the Sonata ends in full triumph.
***
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 (fotw.london)
@FazioliPianos
I. Allegro con brio - 0:04
II. Introduzione: Adagio molto - 10:59
III. Rondo. Allegretto moderato - Prestissimo - 15:08
Brillante !!! Genial
This Sonata is one of the best. Your interpretation is superbe!!
Your sensivity makes mi cry!! Thanks Boris very much!
BRAVO! Just "discovered" Boris Giltburg and am really impressed and will enjoy exploring his wonderful performances. This version of the "Waldstein" is radiant and soars!
I sat dumbstruck and transfixed for a good quarter an hour after the explosion of the five huge block chords of the coda. My favourite of the Beethoven's 32, rendered with so much sheer, raw, unstoppable energy-in pp!-where it need be, so much emotion where it need be, and the brief moments of detachment right where they need be lest you suffocate from holding your breath! Beethoven would have hugged mtro. Giltburg after this performance. A strange thought indeed; I've never been evoked an image of moved Beethoven giving Kempff a hug, and it wasn't at all that Kempff performances had left my eyes dry...
Mind blowing performance
amazing interpretation! I love the whole beethoven sonata project!!!
Another gem in your gorgeous performance!
Thank you so much!
Perfect first movement. The speed is amazing and the balance between the melodic and rhythmic is just right. Crisp playing, which is what this is about.
Amazing👏! This Sonata is beautiful♥️. You are very talented. You have no idea how wonderful it is to see you play the piano. I hope one day to be able to see a Concert of yours personally.💓♥️💓♥️💓👏👍
I was lucky to go to a Boris Giltburg Recital. And it was wonderful! Excellent Pianist. Realized Dream! ☘️☘️🌻♥️☘️☘️
"you are very talented" lol! But i also love to watch him playing.
Absolutely amazing, seemless and beautiful playing. How did you get so good?
Absolutely exceptional in all ways...a complete artist. Boris I have followed you since the Rubinstein competition...this Beethoven project you have recorded is absolutely sensational!
This is my favorite Beethoven sonata to both listen to and play. I've been waiting for you to finally get to it and you completely delivered on my expectations!
Th last movement must be a study in the shades of dynamics. All the other elements are there, but you’ve got to get those varying loudnesses molded subtly. And they certainly are here.
I really can't congratulate you enough, you are all i want to become as a pianist, excellent work so far Boris :)
You stand there in amazement. How could a person compose this and how can such artists interpret it. Thanks alot!
I love everything about this performance, but especially the dynamic range you found. Every possible color and shade is wielded perfectly. Bravo, Boris, and Happy New Year.
perfect Boris Giltburg
you legendary pianist
Hermosísima interpretación.Primera vez que te descubro.Sensible y perfecto !!!Bravo !!!!
I've been listening to a good performance for a while :) Thank you!!
You're the best!!!!!
Excellent quality and interpretation. Your videos deserve more views.
Lindo Boris Giltburg, very beautiful !!!👏👏👏👏👏👏♥️
Superb. Thank you, Boris Giltburg. Your music-making is amazing and enchanting.
Excellent. As good as you are in the Russian Repertoire especially Rach (your preludes and etudes-tableaux are exquisite) you as well create miracles in true Beethoven sound. Thank you, Boris.
C'est l'une des œuvres les plus importantes de Beethoven, souvent classée avec l'Appassionata et Les Aideux comme l'une des grandes sonates de sa période médiane. Il y a trop à dire sur les innovations structurelles/harmoniques de cette pièce, mais je suppose que les caractéristiques les plus notables à ce sujet sont la modulation étendue à la médiane (mi majeur) dans le premier mouvement (la même modulation figure également en bonne place dans l'un des les plus importantes sonates tardives, le Hammerklavier), l'enchaînement des 1er et 2ème thèmes du premier mouvement par un motif descendant de 5 notes, et les textures audacieuses (pour ne pas dire virtuoses) du rondo final.
Прекрасное, СОВЕРШЕННОЕ исполнение! БорисГильтбург - лучший пианист современности!
That’s way too fast for me. I mean he plays well, but my roommate plays this slower and it is more enjoyable for me. Non the less, bravo.
Die 3 "wiener classical" ??? - wer wagt Beethoven als "cassical" Komponist einreihen lassen? Er ist allzuecht Romantiker!
Brilliant!! My favourite sonata!
Boris!!! This electrifies my soul❤️ to the depths of my core, thank you 💗💗
Me encanta la claridad con la que usted toca, la precisión del staccato, el juego perlado, el sentido polifónico de las voces y en general el discurso coherente. Me recuerda, en cierto modo, a Joseph Krips dirigiendo las sinfonías de Beethoven.
Light years better than Levit!
Just listened your Schumann Carnaval and came to here.You are un excellent pianist and artist.I think one of the real best of your generation. Grande Bravoo for your playing and interpretation,so happy to see a real pianist who make real sound exist still 👏👏👏
That's alotta sonata! ♥!
The light seems condensed into your play.. thank you for this huge project to the world!
👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
incredibly well performed! BRAVO!
we love you Boris
Beautiful,bavo!
this is incredibly well performed! BRAVO!
Maestro Boris Giltburg, you have achieved a dream realized with this spectacular performance; in fact, I believe that of all the many performance of "The Waldstein Sonata," that I've listened to in my 75 years, your's is my runaway favorite. I have nothing but the greatest admiration for your "Beethoven Project." You are a very enlightened person! Bravissimo Maestro Boris Giltburg!
Well said Orville!
What a blessing to have such a talent ☀️
👏👏👏
Brilliant. Thank you.
Merci beaucoup !! C’est juste parfait . On ne se lasse pas de vous écouter et vous réécouter .
Speechless It's exceptional, electrifying and magnetic, astounding.I'm inspired by his talent,his focus and how seamlessly he plays and his flawlessness.Bravo👏
Speechless It's electrifying, magnetic, astounding.I'm inspired by his talent,his focus and how seamlessly he plays and his flawlessness.Bravo👏
Speechless It's electrifying, magnetic, astounding.I'm inspired by his talent,his focus and how seamlessly he plays and his flawlessness.Bravo👏
Incredible!! Keep it up
Except you cheated a bit with the octave "glissando" (which Horowitz plays non-glissando while most do) by using both hands and thus sacrificing a few left hand notes.
Superb playing of the Waldstein. I am not a musician and I cannot define what good piano playing is. I know when I hear it, though. (I am taking a side trip to your No.31 sonata.) No. 31 sounds a little too sentimental. Is that what LvB had in mind? Could be, may be.
Exquisite!!
Superb! Expecting you deadly on Dec 2, 2021 at concert hall!
Lol I was listening to TH-cam in 1.25 speed and wondered why today everyone played so fast!
Great technically. Perhaps you were not aware, Boris, that the (in my view disappointing) second movement was only included as a replacement for the (much better) original second movement (andante favori) after his friends complained to Beethoven about the original's length. Anyway, the question is: which is the greater: the Waldstein or the Apassionata? The jury is out on this question.
omg please keep posting!
So passionate!! Thank you!
you are a composer
👏👏👏👏👏👏👏👏👏💝
Браво!