beethoven's 32 piano sonatas robert silverman - Music on Main

Sonata No. 17 in D minor, Op. 31/2 “Tempest”
composed 1802, published 1804
The <strong>sonatas</strong> of Op. 31 continue the exploration of new paths that Beethoven had begun with Op. 26—paths that
include formal and harmonic experimentation. The D minor sonata, Op. 31/2 is his first work in which the main
theme (seemingly) begins in a key other than the tonic. A mysterious A major arpeggio, ostensibly the
introduction, immediately attracts and holds our attention through a lengthy pause. Suddenly, a rush of twonote
figures momentarily identifies the correct key of the piece, but again stops on the dominant A, rather than
on the tonic D minor. The mysterious arpeggio is again heard, but in the distant key of C major. After another
pause, a second, longer rush of two-note figures leads to triumphant statement of the arpeggio in the home
key, pounded out in the bass, alternating with a plaintive gesture in the treble.
Here, even the most experienced listener would be justified in presuming that we have finally arrived at the
main theme. However, from the outset of the piece, Beethoven has kept several steps ahead of us. After only
eight measures he begins modulating to the secondary key. This is a transition: what we had thought was an
introduction was actually the main theme. [Interestingly, whenever this theme is quoted again--in the repeat of
the exposition and the recapitulation--the previous material elides effortlessly into it, so that Beethoven never
again allows us to hear it as a beginning. Those pianists—students and professionals alike—who make a big
ritardando in order to emphasize the return of the main theme have not a clue about Beethoven’s narrative
sense.] The remainder of the movement is devoted to a working out of the three ideas already introduced. In
the recapitulation, the initial slow arpeggio is followed by a recitative that, consciously or otherwise, anticipates
the well-known baritone recitative that opens the choral portion of the finale to Beethoven’s 9th Symphony.
The sublime Adagio also begins with a slow arpeggio. All the important themes are peaceful, but running
through the movement is a series of ominous, short drum rolls in the bass, that remind us, as Beethoven so
often likes to do, that tranquility is at best transitory.
The finale is another of those moto perpetuo movements that so obsessed Beethoven in his middle period.
Beethoven may (or may not; see my notes to Sonata No. 18) have originally been inspired by hearing a
horseman galloping by his window, according to his student Karl Czerny, but he ultimately moved well beyond
that image, as evidenced by the Allegretto and <strong>piano</strong> markings at the outset. A single melodic pattern
predominates throughout, with subsidiary sections featuring jarring cross-accentuation. Like the two preceding
movements, the finale ends quietly, with the incessant rhythmic pattern playing itself out to the point of
exhaustion.
As for Beethoven’s famous response to a question posed by his amanuensis Anton Schindler regarding this
work’s (and the Appassionata’s) meaning, it is possible that Beethoven indeed saw some particular connection
between both pieces and Shakespeare’s The Tempest. Given Schindler’s less than brilliant mind, however, it is
possible that the composer just threw out the first answer he could think of.
<strong>Music</strong> on Main presents Silverman plays Beethoven. September 27, 2010 – April 5, 2011 at the Cellar Restaurant & Jazz Club. www.musiconmain.ca
Programme notes by Robert Silverman. © Robert Silverman