Beethoven: Sonata in B flat major, Boris Giltburg, Beethoven 32 project
Looking back at the sonatas Nos. 811, 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 easyflowing, goodnatured finale are even reminiscent of the sonatas Opp. 2 and 7, written 45 years earlier. The opening movement is in textbookperfect sonata form, putting on hold Beethovens 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 Beethovens mature works ). However, it is definitely a piece characterised by its sparkle, lightfingered drive and ebullient energy, rather than inventiveness or depth of emotion. Only towards the end of the development (05:05) does Beethovens 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 atmospheri
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