Abend am Fluss (Evening on the River) by Caspar David Friedrich (c1820-5)
Piano Sonata no.10 in B flat major Op.22 for piano (1800-01, Beethoven aged 30)
1 Allegro con brio
2 Adagio con molta espressione
4 Rondo: Allegretto
Dedication Baroness Josephine von Braun
written by Ben Hogwood
Background and Critical Reception
This is the last piano sonata thought to belong to Beethoven’s so-called ‘early period’ – and it is one of the least known. Its neglect is mysterious, as the composer himself thought highly enough of the work to declare it ‘really something’ when writing to his publisher Hoffmeister. Donald Tovey agreed, the respected musicologist viewing it as ‘exemplifying early Beethoven at its best’.
His enthusiasm is not universally shared by fellow scholars. Daniel Heartz concludes the work is ‘hardly the winner Beethoven claimed. Of its four movements, only the last is undeniably superior in quality’. The first movement is ‘meant to impress by its feats of pianism’…but ‘on closer acquaintance, the movement seems somewhat lacking in content’.
Angela Hewitt fights her corner against the sceptics, waxing lyrical on the first movement as ‘a brilliant Allegro con brio‘, and on the operatic style of the second, which her favourite of the four. The last movement Rondo, she concedes, needs ‘a good technique combined with an equally good imagination’ to hold it together.
William Drabkin, writing for Deutsche Grammophon’s Complete Beethoven Edition, arrives at a striking conclusion. ‘With Op.22 the classical piano sonata has not only ‘washed itself’, it has also exhausted itself. It was now time for Beethoven to try out new external designs as well as exploring new internal means of expression.’
Perhaps inevitably my thoughts are somewhere in between the opinions of Heartz and Tovey, yet the feeling persists that this is a work that could grow in stature with repeated listening and insight. Having heard it several times I can say the themes do stick in the head, and that Beethoven’s way in developing them makes for a very fluent piece of work.
The innocuous, slightly playful theme of the opening is deceptive, but its mood prevails and a hint of humour can be felt throughout. The slow movement is subdued but elegant, with a freely expressive line in the right hand giving it the operatic air observed by Angela Hewitt.
Like the first movement, the third initially seems innocuous, but its theme is attractive until countered by the nagging second idea. Again the themes of the finale seem slight, but have staying power after a few listens. Things take a darker turn as the movement develops, as B flat major becomes B flat minor, but the clouds clear with the reappearance of the main themes. In this movement Beethoven finds close links with Bach, an early premonition of the great fugue he will use in the Hammerklavier sonata, ironically in the same key. Here the writing is less substantial and has less of an impact, but it does nonetheless get Beethoven to the right place for his next stylistic developments to begin.
Recordings used and Spotify links
Emil Gilels (Deutsche Grammophon)
Alfred Brendel (Philips)
András Schiff (ECM)
Angela Hewitt (Hyperion)
Paul Badura-Skoda (Arcana)
Stephen Kovacevich (EMI)
Igor Levit (Sony Classical)
Claudio Arrau (Philips)
Angela Hewitt’s enthusiasm transfers to her recording, which is thoroughly enjoyable and brings out a stage-like element of Beethoven’s writing. It helps that she is flexible with her choices of tempo, letting the music breathe for a little longer when it needs to. There are notable versions from Gilels, who gives the slow movement a lot of room without dropping the tension, and Brendel who is characteristically fluid.
You can hear clips of Hewitt’s recording at the Hyperion website
You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!
Also written in 1801 John Marsh Symphony no.30 in E minor
Next up The Creatures of Prometheus Op.43