Beethoven Interpretations - Research Paper Example

?Beethoven Interpretations Piano Sonata, op.27 N° 2 "Moonlight Sontata” performed by Gould, Brendel, Barenboim & Horewitz I was most interested in learning why this Sonata is played so often and why it is considered one of his most famous Sonatas. As a sonata is written for a solo instrument with three movements in the classical period, it has three movements. In the Moonlight Sonata, there is a grand piano on a concert stage. I chose it because the piece can be added to a recital. The piece can be performed by young and professional performers because it is open to feeling and ways of playing. It was unusual for the late classical period to have such freedom in playing. Beethoven was showing signs of romanticism in his middle period. Beethoven left the sonata form but the freedom he gave each movement is typically Romantic. The Piano Sonata N° 27 is a beautiful piece of music which has been interpreted in many different ways. The Sonata has three movements: adagio sostenuto, allegretto and presto. It can take anywhere from 12 minutes to 15 minutes to perform depending on the interpretation. Beethoven composed it in 1801. He personally put the title as Quasia una fantasia or almost a fantasy. This means that it can be played as the artist sees fit. In listening to the difference of performance, it can be said that Beethoven's title is more accurate than Moonlight Sonata. A fantasy gives more freedom to perform the music as the performer wants. The name "Moonlight Sonata" was given as a publishing trick. Some say it was given after Beethoven's death. Others say Beethoven gave it as a tribute to his student, Guicciardi. Beethoven had fallen in love with her, a countess. He knew he could never marry someone of that social class. It is unlike him to have been so open as to name a sonata after someone who was paying the bills. This sonata was composed in his middle period. He was not composing romantic music. The title was misplaced (5). His music was steadily leaving the classical form (Waltz). In this Sonata, you see a difference between each performer, which is contrasting. Beethoven would have been heavy in his interpretation. He was already affected by his deafness. The loud pounding of the keys in the last movement enabled Beethoven to hear the vibrations. I listened to many different interpretations in order to get the right feeling for the Sonata. In my research, I saw that the Moonlight Sonata was one of his most famous sonatas. I was surprised at seeing that it could be played so differently by such artist. I chose two artists to explain the three movements (the whole Sonata) in order to have a comprehensive feeling of the dynamics and tempo: Bareboim and Gould. Their interpretation is so different. Then I chose two other artists in order to compare their first movement: Horowitz and Brendel in addition to Bareboim and Gould. I think my favorite of them all was Gould because I felt he was the closest to how Beethoven would have liked the Sonata to be played. In terms of the first movement, I felt it was a classic to hear Horowitz. http://www.youtube.com/watch?v=HpOb5NxtG-w  Baremboim played the first movement with emotion and slowly. He was sad or pensive. His expression was sad. The dynamics were softly played piano. There was, too, much of a difference with the two hands. The bass continued to have the same level of sound during the whole movement and the treble would have crescendos and be too loud. He used a little bit of the rubatto effect. The timing of the first movement was 6.55. Only towards the end did the two hands converse with each other. The end was slow. There was too much conflict between the three note motif and the left hand. His left hand dominated the right only one time during the movement. Towards the end of the movement, he increased in volume and there was a slight crescendo of the left hand which tapered off in the final measure. His bass and treble were blended and not articulate. The Allegretto of the 2nd movement was still slow. It was happy. The tempo was still a little slow for this movement (2.22). It was cheerful only in the beginning, but very automatic. He played it without feeling. There are others who might disagree with me. The Third Movement Presto Agitato was rushed (7.53). It had the tempo that Beethoven wanted. He wanted it to be choppy, but I don't think he wanted it to be rushed. Baremboim felt we were wasting his time. The middle section and last section were a little slower and less agitated. He took liberty at certain points. It still had the automatic feeling of the first two movements. The dynamics were wide. The overall feeling that Bareboim had played this his whole life and his technique was on automatic during the whole Sonata. I didn't like this program. If I thought it were written at the end of the Romantic period, I might have changed my mind. http://www.youtube.com/watch?v=r6YCSeeMN4I Horowitz Horowitz played the first movement within the same amount of time (6.55), but you really had a feeling that the two hands talked to each other. The timbre was beautiful. I liked his interpretation better. The three note motif was expressive. He took the harmony of the three note motif and made a melody of it. He used all of the dynamics of the music without rushing the listener. There was nothing of automatic about the movement. It was not sad. It was pensive and showed the beauty and expression of Beethoven being at peace with himself. http://www.youtube.com/watch?v=B2LcJTqwVug Brendel Brendel takes over a minute to perform the first movement. His use of fantasy of this movement changes the timbre of the whole movement. There are points where you have to hold your breath in waiting for will come next. The three note motif changes completely in function as there is no longer the tempo and the harmony loosing the melody. There is a dissonance between the two hands. He has buildups and a strong bass. At times, it is stronger than the right hand. The three note motif is without motivation in the first part. I am bored. You might find it funny that I judge such a fine player so harshly. He takes too long. http://www.youtube.com/watch?v=WD6pGV69fJI Gould was wonderful. Gould played this under five minutes (4.15). He added two extra notes. He was not on automatic. The timbre was different. There was an interaction between the two hands. The dynamics were constant. The melody of the bass was heard. It was more in the feeling of 19th century music than in a personal interpretation. The second movement was played in the same timbre (1.40). The Allegretto was dance like. The dynamics were constant. The tempo was constant. It was without the personal feeling of Baremboim. It was light. The third movement (4.57) does not give the feeling that is rushed. The tempo is constant. It is agitated. The dynamic shows that there is a difference between the sections. Perhaps the fast sections are not rushed because he did not spread them out like Baremboim. His technique is magnificent. It is amazing that the same piece of music can be played so successfully and so differently. Gould is the most constant in his playing. The dynamics make the movements more logical. Baremboim has too much of his own personality in each movement. There is no continuity or feeling that the movements tell a story. There is too much diversity of the two performances. References "Beethoven's Moonlight Sonata" http://www.all-about-beethoven.com/moonsonata.html Waltz, Sarah Clemence. In Defense of Moonlight. http://bf.press.illinois.edu/view.php?vol=14&iss=1&f=waltz.pdf Moonlight Sonata http://www.youtube.com/watch?v=M4b-PHPuwiM Brendel http://www.youtube.com/watch?v=HpOb5NxtG-w Baremboim http://www.youtube.com/watch?v=r6YCSeeMN4I Horowitz http://www.youtube.com/watch?v=WD6pGV69fJI Gould Read More