Beethoven: Sonata No.11 in B-flat major, Op.22 – Boris Giltburg | Beethoven 32 project

Looking back at the sonatas Nos. 8-11, the Sonata No. 11, Op. 22 is the grandest of the four in its scope, probably the most challenging one technically, but curiously also the most conservative in its spirit and musical language. The elegant minuet and the easy-flowing, good-natured finale are even reminiscent of the sonatas Opp. 2 and 7, written 4-5 years earlier.

The opening movement is in textbook-perfect sonata form, putting on hold Beethoven’s previous experiments with structure and dramaturgy. I politely disagree with those who call this movement foursquare or perfunctory (those words could hardly apply to any of Beethoven’s mature works!). However, it is definitely a piece characterised by its sparkle, light-fingered drive and ebullient energy, rather than inventiveness or depth of emotion. Only towards the end of the development (05:05) does Beethoven’s customary ease of surprising us come to the fore, as he brings the left hand to the very bottom of the keyboard in a long, very atmospheric pianissimo passage.

The standout movement, for me, is the second one (7:46). Here, spirituality is abundant, and Beethoven’s sense of colour, texture and register is exquisite. ‘A long aria’, one could say of the big opening phrase – but it’s written in pianissimo, and as such, appears to us as if in a dream, or through a softening mist, an inspired effect. The middle section (11:30), rising from the murky depths of the keyboard, is a delight, rich with unusual, unexpected harmonies. It is also perhaps the most deeply-felt part of the sonata, questingly exploring numerous keys in a long modulating passage.

Having written the above, I wonder if it is unfair to reproach the sonata for mostly playing it safe. It is undoubtedly the work of a master, one in complete control of his craft and his instrument. Beethoven himself thought very highly of the work, and perhaps it is only in hindsight and through the lens of our own sensibilities that we find the sonata falling somewhat short of Beethoven’s greatest works. In a way, we could see it as a closing, summarising chapter of the first third of Beethoven’s sonatas cycle. The next one to follow, No. 12 Op. 26, will present us with very different musical worlds.

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Beethoven 32 – Over the year 2020, I will be learning and filming all 32 Beethoven sonatas. Subscribe to this channel to follow the project, and visit https://beethoven32.com for blog posts and listening guides to each sonata.

Boris Giltburg, piano

Filmed by Stewart French
© 2020 Fly On The Wall, London (http://fotw.london)

Filmed at the Fazioli Concert Hall, Sacile, Italy
@Fazioli Pianoforti

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