Todd - Why Op 31?

[Holden]

Todd, you use Op 31 as a the benchmark/litmus test for LvB sonata cycles. You may have explained why but I can't recall this.

Today I got the Paul Lewis Op 31 out of the library and immediately thought about your Op 31 benchmark. I'm sure you've heard him in this so how did he measure up? I'd be interested to contrast and compare other cycles based on your well considered opinion.

[Todd]

For me the Op 31 serves as a good test because it offers a good mix of musical styles and ideas, and because the works are more mature than the early works, but they still seem more normal, more grounded, if you will, when compared to the late sonatas.  There's the obvious drama of 31/2 that is stereotypically middle period.  It's intense and bleak in turns, and in order to pull it off, the pianist must offer stark contrasts without just playing in a black and white way, if you will.  The first and third of the set offer more clever music, and music that I don't know if others could have written so effectively.  The first sonata can be a delight or a bore.  The key for me here is how the second movement is played.  One could say there's not much there, but I think that's the point.  How to make that long, repetitive movement interesting?  The final sonata, which is probably my favorite of the three, offers the most contrast between the movements, but it also must come across as somewhat light fun, especially in the outer movements.  Play this too heavy and it's a dud.  Beethoven isn't only about moving heaven and earth.

As to Paul Lewis, I find his Op 31 too soft edged and slow overall.  His playing certainly is lovely, but is that what's really needed in these works?  Not for me. 

Comparing and contrasting other cycles would take a bit more time, and I'll try to make some time for a few at some point, though I will say I tend to like more personal, interventionist approaches to these works.  Bland sight reading (or playing that sounds like it) simply will not do.  (And while writing about interventionist playing, I should note that I plan on hearing Anton Kuerti play an all-LvB recital next month, including the 31/1.)

[Holden]

For me the Op 31 serves as a good test because it offers a good mix of musical styles and ideas, and because the works are more mature than the early works, but they still seem more normal, more grounded, if you will, when compared to the late sonatas.  There's the obvious drama of 31/2 that is stereotypically middle period.  It's intense and bleak in turns, and in order to pull it off, the pianist must offer stark contrasts without just playing in a black and white way, if you will.  The first and third of the set offer more clever music, and music that I don't know if others could have written so effectively.  The first sonata can be a delight or a bore.  The key for me here is how the second movement is played.  One could say there's not much there, but I think that's the point.  How to make that long, repetitive movement interesting?  The final sonata, which is probably my favorite of the three, offers the most contrast between the movements, but it also must come across as somewhat light fun, especially in the outer movements.  Play this too heavy and it's a dud.  Beethoven isn't only about moving heaven and earth.

As to Paul Lewis, I find his Op 31 too soft edged and slow overall.  His playing certainly is lovely, but is that what's really needed in these works?  Not for me. 

Comparing and contrasting other cycles would take a bit more time, and I'll try to make some time for a few at some point, though I will say I tend to like more personal, interventionist approaches to these works.  Bland sight reading (or playing that sounds like it) simply will not do.  (And while writing about interventionist playing, I should note that I plan on hearing Anton Kuerti play an all-LvB recital next month, including the 31/1.)

Thanks Todd. Your opinion of the Lewis Op 31 matches my first impression.

[stand]

I just finished reading Alan Walker's bio of Hans von Bulow.  In it, it seems that Op. 31 is one of the sonatas that Liszt used to play regularly in concert, as well as von Bulow and many other pianists in the 19th century.  I find it interesting too that it was one of the last pieces that Artur Rubinstein chose to record...

I think it is unique among Beethoven's piano sonatas. 

[Holden]

I just finished reading Alan Walker's bio of Hans von Bulow.  In it, it seems that Op. 31 is one of the sonatas that Liszt used to play regularly in concert, as well as von Bulow and many other pianists in the 19th century.  I find it interesting too that it was one of the last pieces that Artur Rubinstein chose to record...

I think it is unique among Beethoven's piano sonatas.

Are we talking about Op 31/3?