Imogen Cooper - a second helping of Beethoven?

[Ricordanza]

Is it possible to overdose on Beethoven?

Normally, I don’t buy tickets for back-to-back concerts with similar programs. The brochure for the 2022-23 piano series sponsored by the Philadelphia Chamber Music Society included a February 19th recital by Mitsuko Uchida, playing the last three Beethoven sonatas. There was no way I would miss that. But 17 days later, on March 8th, Imogen Cooper was scheduled to give her recital, featuring two of those sonatas: Opus Nos. 109 and 111. It didn’t take me too long to decide. I had heard three previous outstanding recitals by this British pianist, and the rest of the program had pieces I wanted to hear, so I took a chance and included her recital in my subscription package. I’m glad I did.

The evening began with three of those “other” pieces: Three Sonnets of Petrarch from Franz Liszt’s Années de Pèlerinage: Italie, Nos. 47, 123 and 104. These are among the most lyrical—and beautiful—works by Liszt, with some virtuoso pizzazz featured in No. 104. Cooper’s performance was just right--poetry in all those lyrical passages, and dazzle when needed.

This was followed by Beethoven’s Sonata in E Major, Op. 109. Having explained my affection for this magnificent piece in my report on Uchida’s recital, I won’t say any more about the music itself. But I will say that there was no problem in hearing it again just over two weeks later, especially when performed in such a compelling manner by Imogen Cooper.

I should add a word about Cooper’s performance style. Generally, she is the picture of British restraint while walking onto the stage and while seated at the keyboard. There’s one exception: at the conclusion of certain dramatic passages, she lifts one hand high in the air, glances upward, and then gently brings her hand back to the keyboard. It sounds affected as I describe it, but since her overall demeanor is so reserved, this audience member (and I suspect others) could not find fault with this gesture.

Following intermission, Cooper offered a Schubert sonata that I had never heard performed in all my years of attending piano recitals. Franz Schubert is known for his Unfinished Symphony, but this work in C Major, D. 840, is his Unfinished Piano Sonata. Nicknamed (appropriately) Reliquie, this piece is not that short (it runs about 25 minutes), but it only has two movements. The initial theme in the first movement is rather angular, but its spare nature leaves room for the pianist to make the case through expressive playing, as we heard from this pianist. It was not until I heard the songful second theme that I said (to myself, of course), “Now that sounds like Schubert.” The second movement adds some drama with sharply contrasting passages. I’m glad I had a chance to hear this work in performance, but to this listener, it’s a lesser cousin of Schubert’s other piano sonatas, particularly the later ones.

Cooper closed the program with Beethoven’s final sonata, Op. 111. Once again, I’ll refrain from commenting in detail about this music. I can only report that this performance left me filled with wonder that a work written 200 years ago could speak to me and move me like few other pieces of music.

And like Uchida, Imogen Cooper offered no encores despite an overwhelming ovation from the appreciative audience. I understand these performers’ reluctance under the circumstances. How can one follow Beethoven’s monumental last sonata?

So, as (musical) overdoses go, this was an immensely satisfying one.

[Belle]

What an absolute pleasure to read this evocative review of an obviously excellent musical experience. I'm not familiar with the 'unfinished' Schubert sonata, of which you speak. Suffice to say, not all Schubert's piano sonatas are of even quality - sadly - and I've been unable to take some of these, particularly the earlier ones, to my heart.

There’s one exception: at the conclusion of certain dramatic passages, she lifts one hand high in the air, glances upward, and then gently brings her hand back to the keyboard. It sounds affected as I describe it, but since her overall demeanor is so reserved, this audience member (and I suspect others) could not find fault with this gesture.

These comments moved me and I had an immediate visual image as to their effect. And your final comment about Op. 111. Apposite.

[Ricordanza]

Thanks for your comments, Belle.