32 days of beethoven: day #31
finally!!!! it is 31ST SONATA DAY!!!! i recorded some piano for this one <3
one: if you're an occasional reader but you're tuning in for Today Only, i HUGELY, VERY BIASEDLY recommend you listen to Mitsuko Uchida's recording of this sonata. i've previously listened to Gould's take & Gilels's take & both of them made me so mad i THREW things, haha. to my ear, this sonata really calls for a very romantic sensibility, a willingness to linger & rubato & stretch out moments when they count, and Uchida does this, beautifully
two: my first time hearing this sonata was Lang Lang performing it in concert, just a little over a month ago. i deliberately went in "blind", no knowledge beforehand whatsoever, and there was a lot of good music played at that concert, but—my primary memory was this moment when he was playing sonata 31, right? where the music had faded to absolute silence, after this whole heartbreakingly sad segment, and i didn't know if the music was coming back or not. like, maybe that was the end of the movement. the end of the whole piece even. and it sort of felt like if it didn't come back it was the end of all hope in the world, something about the way the song was built, i wanted so badly for it to come back—
—and it did. in a single, stark melody, which soon became a fugue—i didn't know it was a fugue, at the time, i just knew it was this beautiful ordered thing that came up from nowhere, from absolute nothingness, and. ahgaigehlgah there are moments you remember. the sonata could've taken me ANYWHERE at that point and i would've been right there with it. but it took me to even better places than i could've imagined.
i went home, and i found the Uchida recording—that's why i'm so insistent on her; i think she does the best version of this "up from nothing" feel which i remember from the performance—and also she just NAILS the slight-but-imo-crucial rubato; you can hear it at 1:37 in part 4 of her recording, where there's this high note that feels like it's just STRAINING ever so slightly to reach that height, this labored back-from-nothingness that is sosososo satisfying ahhh!!!
anyway. i'm not an especially skilled pianist; playing the entirety of the sonata is a feat quite beyond me at the moment. but i have spent the past month trying to learn how to play that first fugue, because i'm just so in love with the hope and the stolidness and the math and the everything of that moment.
turns out playing a fugue is... hard? "it's only a 3 minute segment," i said to myself, stupidly, "nothing in it is very fast or requires great leaps even," i said to myself, naively. TURNS OUT THINGS CAN STILL BE HARD EVEN GIVEN ALL THAT. my piano education prior to quite recently was quite hedge-witch-y; i didn't know the signs to look out for.
i don't have as much of the fugue as "ready" as i'd hoped for come today, but given i did that big soppy post two days ago about how it's the trying that's important, it would feel a bit lame to wimp out of sharing anything now. so here's me playing the first half of the fugue as best as i'm able, as of right now:
it's... ehn. i'm serving as that "normal guy who tries to do the olympic sport so you understand just how good the olympians are," haha. and tragically i don't get quite get all the way to the "beatdrop" moment i wanted, that beautiful high where you're just BANGIN those octaves and having a blast, about ~6 measures later... but i did hack out just those notes (with one obvious wrong note!), very slowly, on a baby grand that was lying around, so, y'know, there's that too:
consider these my loving, half-finished, no. 2 pencil, scribbled-on-lined-notebook-paper pieces of fanart for sonata 31. thank you, mr. beethoven; this past month has been so kickass thanks to you.
and i'll keep working on the thing! so when i eventually post an actual recording of that fugue, a month or months or a year or years from now, know that a lot of love an effort went into that damn thing <3
...okay, doing movement-by-movement notes feels a little silly at this point LOL, but ftr:
movmement one: beautiful, soft, transcendent
movement two: it's so fun; it's so loud; it's so goofy; it sounds like a drinking song! YET STILL SOMEHOW FEELS ENTIRELY PART OF THE WHOLE? beethoven how do you fucking do that. how do you wedge that thing in there and it's like, ah yes, this soft beautiful transcendent careful deliberate sonata would make no sense without the loud drinking song interlude in the middle
movement three: god so fucking sad
movement four(ish) (technically not a fourth movement but Uchida puts the part starting with a fugue on a separate track): THE FUGUE!!! AND then the sad :( but then THE OTHER FUGUE AHGLIEAHGILEH??? AND THEN MELODY AGAIN???? AND IT'S SO GOOD????
i remember this one offhanded ursula k le guin quote where she was like: "i don't think that Man is the measure of all things, or even of very many things. i don't think Man is the end or culmination of anything, and certainly not the center of anything. what we are, who we are, and where we are going, i do not know, nor do i believe anyone who says he knows, except, possibly, beethoven, in the last movement of the last symphony."
well, (1): she's close, but actually, i think the moment beethoven possibly knew Our Ultimate Fate was in the last movement of his next-to-last sonata. this right here.
and (2): i do love her footnote in that essay: "or schubert, in the Great Symphony, but he isn't saying at all what beethoven said."
anyway. happy friday. happy music day. happy beethoven all.
(tomorrow is beethoven's very last sonata <3 and also kentucky derby day <3 are you ready)