Sea beach with fisherman (The fisherman) by Caspar David Friedrich (1807)
Piano Sonata no.22 in F major Op.54 for piano (1804, Beethoven aged 33)
1 In tempo d’un menuetto
2 Allegretto – Più allegro
Dedication Count Ferdinand Waldstein
written by Ben Hogwood
Background and Critical Reception
Beethoven biographer Lewis Lockwood has an important observation, that ‘in other middle-period pairings, a long, powerful and brilliant work (in this case the Waldstein sonata) is succeeded by a short and quiet one, with Beethoven creating a double image and a deliberate contrast, a reminder of the balance between great and small, between seemingly opposed and adjacent modes of being that can compliment one another, as a rare flower grows by a large tree’.
Little needs to be said after that rather neat summing up – though it is as always worth hearing the thoughts of pianist Angela Hewitt. Writing booklet notes for her Hyperion recording, she notes the elegance of the opening before ‘all hell breaks loose’. For the second movement, she stresses the importance of observing the composer’s ‘dolce’ marking to avoid it sounding like a study.
As Angela Hewitt notes, it is a graceful and genial start to this piece, Beethoven enjoying a few sleights of hand with some chromatic inflections to the melody, before the cavalry rights roughshod over the tranquil mood. There is a perceptible glint in the composer’s eye while this happens, and you can sense the frowns the first audience may well have had! This means when the mood returns to tranquil the listener is no longer as trusting as to what might happen – and they are right to be wary, for Beethoven enjoys a few more outbursts and melodic quirks.
The second movement is fast and flowing, though there is a more romantic element to the twinkling right hand, and a good deal of expressive weight when the left hand goes towards the bottom end of the piano. Once again Beethoven enjoys journeying to far-flung keys, and the momentum never lets up right to the emphatic finish.
This is a curious piece, one that is indicative of Beethoven’s quest for the new, challenging existing notions of how a sonata should behave. It has elements of the Waldstein’s virtuosity and energy in the final movement, and has all the characteristics of a ‘prelude and fugue’ from the Baroque period. There is much to enjoy here!
Recordings used and Spotify links
Alfred Brendel (Philips)
András Schiff (ECM)
Angela Hewitt (Hyperion)
Paul Badura-Skoda (Arcana)
Stephen Kovacevich (EMI)
Igor Levit (Sony Classical)
Claudio Arrau (Philips)
Daniel Barenboim (Deutsche Grammophon)
Once again a crowded field of some very fine versions, though those from András Schiff, Alfred Brendel and Stephen Kovacevich prove particularly enjoyable.
You can hear clips of Angela 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 1804 Hummel Rondo in E flat major Op.11
Next up Triple Concerto in C major Op.56