What is/are your favourite Beethoven Piano Sonata/s and why?

[Belle]

And is there any particular performance which influences your preferences?

[barney]

Belle, that's one of those questions to which there's no easy answer except: the one I am listening to right now (whichever it is). I regard 29 and 32 as probably the greatest, but I love them all right back to the op 2 sonatas.

[Rach3]

Favs are several:Nos.3,5,11,17,18,21,25,30,31,32.

Desert island probably 31 for its balance of romantic,dramatic,transcendent.

My fav recordings of the above are Schnabel,Ashkenazy,Graffman,Jacobs,Fiorentino,Brendel, but the music determined my preferences and sets the standard for the pianist, per Schnabel music " better than it can be played."

[neilnw]

Numero uno is #26, 'Les Adieux.' I worked it up for my senior recital in college. I leave it to Weinstock & Brockway's Men of Music to tell you which of us is 'in the wrong'; "It may be said of this work that, although it was deeply felt, its program inhibited its creator's highest flights of fancy."

#2 is #30, in E. The most affecting sonata of them all. I worked this up immediately after the above one.

[Holden Fourth]

My favourites come about either through listening or fond memories of the ones I learned and played

Waldstein - Rudolf Serkin 1952
Pastoral - Sokolov
Op 110 - Myra Hess and also Richter in Leipzig
Op 27/1 - Gilels
Appassionata - Gilels Moscow 1960 A dazzling rendition
Op 31/3 - Rubinstein
Op 111 - Arrau

[Belle]

I absolutely love "Les Adieux" and cannot find a single fault with it at all.

I agree Opus 109 is one of the greatest Beethoven Sonatas of all of them, along with Op. 106. Here is Levit from 19:14 in Op. 109.

https://www.youtube.com/watch?v=8JZGiY--2LM

The staggering Adagio/Arioso/Fugues of Op. 110 is transcendent and I simply couldn't chose between either of these mentioned. Here it is at 48:15 with Stephen Kovacevich. (I have to say I prefer these to the final Sonata Op. 111.) From bar 8 in this section .. I'd die in a ditch for it!!

https://www.youtube.com/watch?v=H3S8slvoHoU

All of these works are so very wonderful, each in their own way. But one has to get to the final few to really find the apotheosis of the form from the master, deaf and all as he was by this stage. They're symphonic in scope.

This Sonata, Op. 7, is very fine and often little-discussed: the final movement is dialled in direct from god!! In its (essentially) ternery form we are surprised by the 'inner' section of vitality and rhythmic dynamism. I used to play the Stephen Kovacevich recording for the music appreciation group I used to run. Even those who knew nothing much about Beethoven were swept up in its magisterial sound world. And the ending; so silent and so cheeky, that I laughed like a mad relation in front of those people when I played it.

Composed in 1797, Op. 7 reveals Beethoven's early mastery of the form.

https://www.youtube.com/watch?v=lLf3k5ez-l0

[Belle]

My favourites come about either through listening or fond memories of the ones I learned and played

Waldstein - Rudolf Serkin 1952
Pastoral - Sokolov
Op 110 - Myra Hess and also Richter in Leipzig
Op 27/1 - Gilels
Appassionata - Gilels Moscow 1960 A dazzling rendition
Op 31/3 - Rubinstein
Op 111 - Arrau

Any person who has played any of these works has my utmost admiration as I simply collapsed under the weight of them at the very start of 8th Grade Piano.

[Lance]

Very difficult question to select from the 32. However, Sonata #32 in C Minor, Op. 111, for a long time now, has been amongst my favorites, and probably the first one ever recorded by Solomon (which initially appeared on an RCA Victor LP eventually made it to CD). Whenever I acquire a new CD or sets that contains Beethoven sonatas, No. 32 always gets played first. Most of the "named" sonatas remain favorite as well (though not the "Moonlight" — just overdone). The pianists? Ah, that's the most difficult one to comment on. Artur Schnabel, Edwin Fischer, Gilels, Solomon, Serkin ... all for certain sonatas, and dear Mr. Rubinstein (but not particularly Horowitz). That's a generic answer, I guess, to a question that would take a long time to respond to each sonata.

Another great one for me is the Sonata No. 27 in E Minor, Op. 90. While only in two movements, it's the gentle Beethoven before we get into all the heavy sonatas after No. 27. The opening movement theme continues to stay within the brain long after you hear it. Odd that I have a penchant for these two sonatas that both only have two movements!

A good question. I hope to see many responses on this one.

[Belle]

Ineffable joy, Sonata in E Minor, Op. 90. I watched Levit playing this smaller-scale work on a recent YouTube concert. The theme in the second (final) movement, so touching and so Mozartean in its gentle way, Alberti-style Bass and all. Also reminiscent of Haydn in places. An interesting reversion to earlier forms for Beethoven at this point; it does change it's rhythm in the second movement which, of course, we hear in the last Sonatas. From simple to compound and back, if I'm not mistaken.

All these Sonatas by Beethoven just prove that the form was very much open and defied actual structural characterization, particularly under the creative impetus of Beethoven.

[Holden Fourth]

I remember learning Op 7 as an exam piece and I thought it was for Grade 8 bit it could have been the next step (Diploma/Letters).

[maestrob]

What a difficult question!

I love the early sonatas (1-3) for their Mozartean flavor with slight explorations here and there, especially #3.

The sonata that turned me on to Beethoven's piano oeuvre would be Op. 111, a staggering achievement for any composer, let alone a deaf one. Bruce Hungerford's live account would be my favorite performance at the moment, while a live performance by Backhaus from an RAI b'cast in 1962 was what has brought me so much joy over the years. I own Levit's CD but have yet to hear it: it's on the agenda for 2024.

Thanks Belle, for all those links. I'll try to catch up given time.

[cliftwood]

If I had to choose only one sonata. .. it would have to be the Appassionata,which always leaves me overwhelmed. The performance by Emanuel Ax some years ago at the Philadelphia Chamber Society remains the most magnificent I ever heard live and I've heard many great ones. I studied this work with Rudolf Serkin and he always "owned" this work.

My second choice has to be Les Adieux, another Beethoven special creation.

Op.109 in third place.

cliftwood

[Belle]

If I had to choose only one sonata. .. it would have to be the Appassionata,which always leaves me overwhelmed. The performance by Emanuel Ax some years ago at the Philadelphia Chamber Society remains the most magnificent I ever heard live and I've heard many great ones. I studied this work with Rudolf Serkin and he always "owned" this work.

My second choice has to be Les Adieux, another Beethoven special creation.

Op.109 in third place.

cliftwood

I very much admire Emanuel Ax and his thoughtful and sensitive performances. The Appassionate and Les Adieux are both superb sonatas - most especially the second movement of the former. This is surely one of the most profound utterances from Beethoven.

[Rach3]

Was fortunate to be in the hall twice to hear Rubinstein play "Appassionata" live, 1968 or 1969, then 1974 ; and Gary Graffman live in 1970.

In each case, Rubinstein opened, first work, with "Appassionata" followed by Schumann's "Fantasiestucke" as the first half.

Graffman's programme :

Scarlatti 2 Sonatas
Beethoven "Appassionata"
Liszt B minor Sonata

Pause

Ravel "Gaspard "
Scriabin Prelude,Op.22,# 1
Balakirev "Islamey"

Encores : Chopin 3rd Waltz , Schumann "Widmung", Chopin Op.25,# 12

[Lance]

Those concerts with those two artists must have been fabulous. Like to hear more about your thoughts on the performances and repertoire.

[Ricordanza]

If I had to choose only one sonata. .. it would have to be the Appassionata,which always leaves me overwhelmed. The performance by Emanuel Ax some years ago at the Philadelphia Chamber Society remains the most magnificent I ever heard live and I've heard many great ones. I studied this work with Rudolf Serkin and he always "owned" this work.

Harris, thanks for the memory! I also attended this recital, which took place on March 20, 2007. Here's what I wrote at the time:

Ax saved the best for last: his performance, after intermission, of Beethoven’s Appassionata Sonata, Op. 57, was equal to the greatest performances I have heard of this piece. While listening to this piece, I kept asking myself: Could this be the same composer who stayed within careful musical and emotional boundaries in the first Sonata on the program [Op.2, No. 2]? No matter how often I hear the Appassionata, in the hands of the right performer, it remains a thrilling work. With all the emotional and technical resources he summoned that evening, Ax was the right performer.

Back to the original question, I'm with Barney: my favorite is the last one I listened to (which happens to be Nelson Friere playing the "Waldstein").

[Rach3]

Those concerts with those two artists must have been fabulous. Like to hear more about your thoughts on the performances and repertoire.

Rubinstein was apparently often a more animated,spontaneous pianist live than recorded ( I heard him live 4 times ),even though his '60's RCA studio of the "Fantasiestucke" paired with "Carnaval" remains one of the great performances of each work and as I recall ( it's been a long time ! ) the live I heard similar, but in the '68 or '69 recital he hit 2 very loud,obvious klunkers , one each in the Schumann and Beethoven , which unsettled the audience and I think Rubinstein,although to my ears he recovered perfectly well.The recital concluded with the Liszt "Mephisto Waltz No.1" which he should not have programmed as he completely lost control about 2/3 through and made a mess of it.The local critics were ok , but Rubinstein knew the evening was an off night as he came back the very next year, unusual scheduling I think for a far-flung venue like Minneapolis, and did an all-Chopin programme which was fine ( I also attended ).

In 1974,at Duke University,he was great, near top of his game,different apparently from what I've read about his 1975 "Last Recital for Israel" recording of almost the same programme.In 1974, the usual 2 Chopin Etudes supposedly chosen on the spot, concluding with the Chopin "Heroic" Polonaise, and then the Villa-Lobos encore.

I remain puzzled at his attraction to " Appassionata" so late in his career as I think " Les Aideux" or "Waldstein" or "Tempest" or "Pathetique" would have suited him better.The Schumann was perfect for him.

Graffman's programme was astonishing in all respects. (No wonder he developed hand problems ?!) Very generous to a Carleton College student and faculty audience of only about 500 (full house) in the middle of a Minnesota winter.( And no piano re- tuning during the Pause.) Hopefully he had recitals in the Twin Cities that same week.The one and only time I've heard the Liszt,Ravel and Balakirev live in a hall. I regret I did not ask him why he chose to play the Beethoven and Liszt both in the first half.

[Belle]

Graffman serves on the juries of major piano competitions these days!! It's good to know they have musicians of this level of authority making those important, life-changing decisions for pianists.

[Belle]

The Largo e Mesto in Beethoven's Op. 10/3 is absolutely sublime and it points the way in these early years towards the late sonatas. I adore this Beethovenian gravitas.

https://www.youtube.com/watch?v=h-xVM7vr77s&t=382s

[Belle]

Watching this performance from Levit at the 2020 Salzburg Festival of No. 12 in A Flat Major,Op. 26 - another great Beethoven sonata with a profound inner movement and brief but tumultuous final one.

https://www.youtube.com/watch?v=9z27bw6zElY

Levit needs to perfect his performance decorum; he shouldn't slump over the keyboard and ought to keep his hands away from his face as this looks gauche. He has a tendency to wipe his face with his hands or sleeve.

[Lance]

Thank you for that analysis ... I was almost there with you hearing it all! I've always had a strong passion for anything Rubinstein did, a real human being and pianist. When a pianist "bombs," it can be very unsettling for the listener. I've heard quite a few "klunkers" in my lifetime, but the musicianship was almost always there.

Those concerts with those two artists must have been fabulous. Like to hear more about your thoughts on the performances and repertoire.

Rubinstein was apparently often a more animated,spontaneous pianist live than recorded ( I heard him live 4 times ),even though his '60's RCA studio of the "Fantasiestucke" paired with "Carnaval" remains one of the great performances of each work and as I recall ( it's been a long time ! ) the live I heard similar, but in the '68 or '69 recital he hit 2 very loud,obvious klunkers , one each in the Schumann and Beethoven , which unsettled the audience and I think Rubinstein,although to my ears he recovered perfectly well.The recital concluded with the Liszt "Mephisto Waltz No.1" which he should not have programmed as he completely lost control about 2/3 through and made a mess of it.The local critics were ok , but Rubinstein knew the evening was an off night as he came back the very next year, unusual scheduling I think for a far-flung venue like Minneapolis, and did an all-Chopin programme which was fine ( I also attended ).

In 1974,at Duke University,he was great, near top of his game,different apparently from what I've read about his 1975 "Last Recital for Israel" recording of almost the same programme.In 1974, the usual 2 Chopin Etudes supposedly chosen on the spot, concluding with the Chopin "Heroic" Polonaise, and then the Villa-Lobos encore.

I remain puzzled at his attraction to " Appassionata" so late in his career as I think " Les Aideux" or "Waldstein" or "Tempest" or "Pathetique" would have suited him better.The Schumann was perfect for him.

Graffman's programme was astonishing in all respects. (No wonder he developed hand problems ?!) Very generous to a Carleton College student and faculty audience of only about 500 (full house) in the middle of a Minnesota winter.( And no piano re- tuning during the Pause.) Hopefully he had recitals in the Twin Cities that same week.The one and only time I've heard the Liszt,Ravel and Balakirev live in a hall. I regret I did not ask him why he chose to play the Beethoven and Liszt both in the first half.

[Belle]

I just love the jaunty Scherzo in particular from Beethoven's Opus 31/3. Here played wonderfully by Levit, as is the whole sonata of course:

https://www.youtube.com/watch?v=6rYm7NTv-kU

Ich bin verklempt. Beethoven unfolds complex melodic ideas from small fragments and leads us this way and that, always surprising us, no matter the mood of the movement or piece. The Haydnesque third movement is poetry.

[Belle]

Composed circa 1801 (a year or so before his Heiligenstadt Testament!) Beethoven's Sonata No. 13 "Quasi una Fantasia" (Opus 27/1) is his first great masterwork in this form, IMO. By this I mean that this 4 movement Fantasia/Sonata is flawless throughout, with no repetition or references to other classical composers. Wholly original, organic and with endless thematic development and exposition the work is an unmitigated joy from beginning to end. Listen in the last movement for the way Beethoven turns the melodic ideas inside out/back on themselves, revealing his study of Bach and that great man's genius in doing the same thing. (The Korstick performance here is superior to the other two.)

https://www.youtube.com/watch?v=ckjg-RJ ... T&index=13

[Belle]

I'm working my way again through the entire Beethoven Klaviersonaten, with Kovacevich. Just finished No. 3 and casting a critical ear: example, "was that Da Capo really necessary there?" In some respects these earlier sonatas are often Haydnesque, as you might expect.

Now onto Sonata 4, Op. 7. This is a magnificent work. This sonata was the exception rather than the rule for Beethoven up to this time. Different elements of his personality are on display. From my notes from the Jonathon Biss Curtis Institute online course:

Crackling with energy; virtuosic
Announces its ambition immediately
Is not thematically driven (terse; less notable for its beauty)
"Themes" designed to be a kernel - not a theme per se
Malleable because it is so easily manipulated and can still endure
Biss claims that Variation form dispels the opportunity for drama (I think this is a very apt observation).

Op. 7 is daring; respecting/disrespecting tradition. But the last 2 movements seem to make a return to tradition. This sonata takes longer to play than any others except the Hammerklavier.

The second movement employs the use of silence and uses a question to ask another question. Shines a light on slow movements; usually towards a brighter key. Heavy use of rests/silences. Beethoven's slow movements more transformative than Haydn or Mozart.

The first two movements of Op. 7 are still where the most happens, but the last movement holds its own, and the end is what lingers in the memory. This represents a significant first step towards a total reinvention of the shape of the Sonata. However, it stretches the form but doesn't radically alter it.

https://www.youtube.com/watch?v=lLf3k5ez-l0

[CharmNewton]

At this time, I might listen to a Beethoven sonata because it has gotten in my head (a fellow listener, writing to our local classical station KQAC, described it as an earworm) or having just been captivated by a recording would like to hear how others play the work.

I've been listening to a collection of Sonatas (13), Diabelli Variations, and Concertos (3,4 and 5) played by Hans Richter-Haaser (1912-1980). In 2011 or 2012 French EMI issued his Beethoven recordings for the English Columbia in a 6-CD set to honor his centennial year. All are in excellent stereo sound. Extensive notes in French only.



His Beethoven projects boldness and toughness. I imagine Beethoven as wanting to make an unforgettable impression with his music. Richter-Haaser's readings often convey this to me. His piano sound is beautiful. Notes are not artificially clipped to highlight clarity. A beautiful example of his playing (and pedaling) can be heard in the opening of the Fourth Movement (Largo) of the Hammerklavier Sonata, where the sonorities are allowed to blend freely. There are many beautiful moments in this set.

One of the highlights of this collection is the Sonata No. 31 in A-flat Major, OP. 110, here provided to YouTube by Warner Classics. I hope you enjoy it as much as I did.

https://youtu.be/XiTOIt6xPDg

John

[Holden Fourth]

My second Beethoven Sonatas purchase (on LP) was him playing Op 2/1 Op 2/2 and the Op 77 G minor Fantasia which I fell in love with. Of course when the CD set you just showed came out I just had to get it.

[Rach3]

One of the highlights of this collection is the Sonata No. 31 in A-flat Major, OP. 110, here provided to YouTube by Warner Classics. I hope you enjoy it as much as I did.
John

Perhaps my fav LvB piano sonata, and a great performance, my first hearing of this recording, among many other virtues not rushing the last 3 minutes as so many pianists do.Thanks for the post !

[CharmNewton]

Perhaps my fav LvB piano sonata, and a great performance, my first hearing of this recording, among many other virtues not rushing the last 3 minutes as so many pianists do. Thanks for the post !

You're welcome.

John

[Belle]

This morning I listened again to Beethoven Op. 2/1 with Levit: such a thoughtful and intelligent musician. When I think of all the pianists I love, it's not just their playing but the fact that they have hugely intelligent things to say about the music. Kovacevich and Brendel are both like this; great in conversation, not just in lectures per se.

https://www.youtube.com/watch?v=D0Cj8PIvEjU

Then I said to myself, there's much Haydn in this first sonata and yet it IS Beethoven. The third movement told me so. But here's a fabulous Haydn sonata which could rival any of those early ones by "the great mogul", as Haydn called him:

Here is Brendel (he turned 93 on my birthday, 5 January) in one of the late Haydn sonatas and they are harmonically innovative. The dear man, Papa Haydn! Yes the similarities are there with LvB: the unfolding motivic ideas, the forays into new tonalities, the forward-drive and momentum, and also the tender and elegant. And melodies which turn back on themselves!! Haydn's second movement here is almost pure arioso and the sudden pivot to the minor key - poetry. Make no mistake; this is one of the great piano sonatas!!

https://www.youtube.com/watch?v=mWF-48jIrSU

[Papaloupas]

Adding my little testimonial to those above on opus 109. I discovered it through the Pollini recording while in college and quaffed from that one for years even though without much knowledge; then Schnabel and Kempff and Horszowski and many others; and then later came to learn the structure as well.

But I'd call it a "favorite" only on a bottom-up basis if that makes any sense: not elevating it above the others on an abstract basis, and instead just reflecting back over the years and noticing that it really emerges as having been such a biggie!

New member of this board by the way; hi everyone.

[Rach3]

But I'd call it a "favorite" only on a bottom-up basis if that makes any sense: not elevating it above the others on an abstract basis, and instead just reflecting back over the years and noticing that it really emerges as having been such a biggie!

Welcome,and well said. Fww,here's a fav Op.109 of mine ( with 110,my 2 favs of the sonatas) early Ashkenazy:

https://www.youtube.com/watch?v=ug9-mtXjOmE

[Belle]

Ditto and welcome to the board Papaloupas. Opus 109. Gesangvoll, mit innigster Empfindung!!

https://www.youtube.com/watch?v=8JZGiY--2LM

I'd die in a ditch for it.

[Ricordanza]

New member of this board by the way; hi everyone.

Welcome aboard!