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<h1 class="post-title p-name" itemprop="name headline">Origin of the Angry Piano [Beethoven]</h1>
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<time class="dt-published" datetime="2021-08-29T22:42:00+03:00" itemprop="datePublished">Aug 29, 2021
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<p>My latest classical endeavour is no other than Beethoven, who is unsuprisingly one of the very first composers I listened to (though not the one that brought me over - thanks, Rachmaninoff!).</p>
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<p>I’ve had it in mind Beethoven composed for the piano, but had assumed it was his symphonies alone that made him as famous as he is. <em>Wrong!</em></p>
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<p>This time around I barged in from Chopin’s nocturnes, which are already quite a long way from the big, sad string symphonies that awed me into Classical music (shortly after Rach’s banger of a second piano concerto that is). Coming back to Beethoven’s sonatas, which are amongst the first Classical pieces I’ve heard, now with much more listening under my belt - really feels like a sort of closure. Only this time around, I didn’t just enjoy them - they <em>wowed</em> me to my core.</p>
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<p>The one that prompted me to write this is <strong>Appasioneta</strong>, <em>number 23, opus 57</em> (in <em>F minor</em>). Having already heard some very powerful, passionate piano pieces (Liszt’s brilliant, almost alien piano sonata and Chopin’s moving <em>opus 48/1 nocturne</em> spring to mind), Beethoven’s is <strong>mind blowing</strong>. It starts off strong with an ominous phrase, and quickly explodes in speed and emotion - it is incredibly <strong>raw</strong>. I can’t seem to grasp what exactly is it coming through - is it rage? sadness? power? or perhaps just unbridled, undefined raw emotion?</p>
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<p>In any case, it is magnificent. The way a single instrument, powered with a skilled, passionate player (the amazingly talented Igor Levit in this instance) can absolutely thunder through a room with a single instrument is almost ungraspable to me. Listening to the tempo pick up, it feels as if my consciousness itself is shaken - and yet, it’s not just <em>loud</em>. It’s not just <em>fast</em>. It is <em>beatiful</em> - amongst the flurry of notes there’s something truly profound.</p>
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<p>Others I’ve listened to and enjoyed (yes, aside from <strong>Moonlight</strong>) are the very first one ( <strong>Opus 2</strong> , also in <em>F minor</em> - in just works!), the eighth ( <strong>Opus 13</strong>, <strong>Pathetique’</strong> in <em>C minor</em>), and the final, 32nd (<strong>Opus 111!</strong> in <em>C minor</em>).</p>
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<p>The first, while clearly under Mozart’s shadow, to me already feels very different - it just <em>works</em> in a way I can’t describe.</p>
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<p><em>Pathetique</em> Feels like a clean glance into Beethoven’s character - it is a flurry of emotion, at times anger and at times calm - to me it feels like him venting his frustration with a particularly annoying individual.</p>
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<p>Finally, the last, 32nd sonata feels like Ludvig knows something we don’t, and will never grasp - and we are simply spectators watching that… something unfold. Very profound and very mysterious.</p>
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<p>In the last month or so I’ve been straying from my Romantic symphonies heartland deep into Baroque and Classical territory - previously the two genres I liked the least by far. After studying and connecting with Mozart’s amazingly flowing piano concerti (namely Opuses <em>20,21,24 and 27</em>), and drifting away with Chopin’s nocturnes (as brought to life by the passionate Jan Lisiecky), Beethoven’s raw, all-minor all-oomph sonatas really are a fresh wet slap in the face.</p>
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<p>It’s a good thing there’s so many of them - I’ll be following this thread for a while.</p>
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