Beethoven: Sonata No.2 in A Major, Op.2 No.2 (Korstick, Levit, Pletnev)

The general impression of the Op.2 No.2 is that it is a lithe, graceful thing. This belies, however, its radical (even parodic) tendencies.

For a start, the sonata is fiendishly difficult. Stock classical-era devices (arpeggios, scales) are pushed here to silly extremes (and lovely effect). The most infamous example is the impossibly-fingered RH descents at mm.84 and 89, but you also have the treacherously exposed triplet semiquaver runs in the first movement and the ever-expanding - and increasingly ridiculous - arpeggio that opens the last movement.

The sonata also modulates in unexpected and extremely modern-sounding ways: see the second theme group at m.58, where it moves in intervals of a minor third (an interpolated omnibus sequence!), the use of C and (extended) F major in the development of the 1st movement, Bb in the 2nd, G# min in the 3rd, and F + Bb major at the end of the 4th. It’s pretty striking that something that sounds so graceful modulates with such aggressiveness.

There’s also the textures B. deploys here, which were more or less unheard of in his time. In the opening movement, there’s a spectacular triple stretto of the rising scale motif elaborating a circle of 5ths (m.182); in the second, gorgeous Brahmsian textures (m.17) and pizzicato plucking in the lowest registers against sustained middle tones; and in the last, an opening featuring an absurd operatic downward leap, alongside deliberately overinvolved mimicry of the first movement’s rising A arpeggio motif.

MVT I, Allegro vivace
EXPOSITION
00:00 [m.1] – Theme Group 1, Theme 1. Note Motif (A), the opening descending 4th, the related long octave descent starting in m.4 (A*), and Motif (B), the quick downward run in m.1.
00:07 [m.9] – Theme Group 1, Theme 2. A rising scale (C), followed by a lovely three-part chamber texture. Has a ritornello function.
00:26 [m.32] – Theme Group 1, Theme 3. Containing a much faster version of (C), and slower descent (D).
00:34 [m.42] – Dominant preparation, leading deceptively to
00:48 [m.58] – E minor. Theme Group 2, Theme 1. An incredibly modern-sounding series of enharmonic modulations, each raising the tonality by a minor 3rd.
01:03 [m.76] – (B) returns. (Also (A)’s rhythm interspersed). At m.84, cadence-theme 1.
01:18 [m.92] – (C)+(D) return (ritornello!)
01:28 [m.104] – Cadence-theme 2
DEVELOPMENT
03:23 [m.122] – After closing chords in E min, TG1, T1 in C
03:30 [m.131] – In Ab, (A)+(B)+(A*), moving into dominant of Fm
03:50 [m.162] – TG1, T2 in F. Repeats itself, led by LH. Moves into Dm.
04:13 [m.182] – Motif (C) developed in close 3-part imitation moving around the circle of fifths, borrowing the arpeggio that opens TG1, T2. At m.189 (4:19) (A) appears, together with fragment of (C). Process repeated twice.
04:30 [m.203] – Dominant preparation, extensively using (C) and TG1, T2’s opening arpeggio (in LH).
RECAPITULATION
04:50 [m.225] – TG1. The counter-statement of TG1, T1 is absent. Instead, T2’s closing bars are repeatet in D (m.245) and A.
05:34 [m.278] – TG2 in Am, leading straight into closing cadence without coda.

MVT II, Largo appassionato
09:38 [m.1] – Theme, in D. The 20 seconds after 11:14 (m.16) contain some of the most moving music B. ever wrote.
11:37 [m.19] – Episode 1, in Bm.
12:59 [m.32] – Theme
14:53 [m.50] – Episode 2, beginning like a coda (alternatively, the start of a genuine and massive coda). At m.58 theme returns suddenly in Dm in ff, moving into Bb and home dominant
16:39 [m.68] – Theme, in higher register, with delicately articulated accompaniment
17:11 [m.75] – Coda

MVT III, Scherzo
18:08 [m.1] – Scherzo. At m.19, second melody in G#m(!)
19:33 [m.45] – Trio, in A min
20:18 – Scherzo

MVT IV, Rondo
21:04 [m.1] – Theme (Note the opening arpeggio extends the arpeggio figure from TG1 T2)
21:35 [m.16] – Transition, moving to E
21:53 [m.26] – Episode 1
22:22 [m.41] – Theme
22:54 [m.57] – Episode 2, in Am. A shocking, even ugly contrast.
24:40 [m.100] – Theme
25:12 [m.115] – Transition, staying in A
25:29 [m.124] – Episode 1, in D
25:51 [m.135] – Theme/Coda (can also be read as Theme + Episode 2 + Theme, giving the movement an ABACABACA structure). At m.140 – sudden diversion into F, where the theme stays for 5 bars. At m.148 (16:17) the theme is developed into the bass into tonic-dominant swing. At m.154 (26:28) the portamento from the theme is deployed in what looks like a final cadence that suddenly moves using an enharmonic switch (D#=Eb) into Bb.
26:41 [m.161] – Episode 2’s theme recurs in Bb before the theme returns one last time, richly ornamented and diverted at m.180 into the final tonic-dominant swing.

Видео Beethoven: Sonata No.2 in A Major, Op.2 No.2 (Korstick, Levit, Pletnev) канала Ashish Xiangyi Kumar