This is one of the chefs d’oeuvre of Beethoven’s art. This sonata, called “Appassionata,” is a great hymn of passion, of that passion which is born of the never-fulfilled longing for full and perfect bliss. Not blind fury, not the raging of sensual fevers, but the violent eruption of the afflicted soul, thirsting for happiness, is the master’s conception of passion. To Beethoven the difference between ideal happiness and what mundane life offers as a substitute to true happiness is so violent as to rouse his sensitive nature to almost brutal outburst. But in all of Beethoven’s passionate outburst there is a moral element, a conquest of self, an ethical victory. — Donald Francis Tovey
Arising out of murky depths, the opening of the “Appassionata” shakes itself off only to encounter an ominous dih, dih, dih, dah motif to become much more famous a couple years later. Here’s Tovey again:
Hesitant knocking at the door, terrifyingly furious response; touchingly simple appeal, and haughty, imperious bursts of passion; glimmering hope and staggering despair; fear-inspired stillness and heart-rending cries of distress; dark depth and sun-bathed height.
The 2nd movement of the “Appassionata” begins with a chorale-like hymn that becomes the theme for 3 variations (although not marked in the score) that progressively go up by octaves and split the rhythmic units. A 4th variation functions as a coda to return to the opening mood.
The [Appassionata] finale’s atmosphere is one of terror. A shrill cry of pain bursts forth suddenly. A howling flood of tones is released, and flows wildly, irresistibly through the entire piece, now whispering softly, now roaring loudly. Only once, in the middle section, this demoniacal onrush is interrupted; yet what is revealed in these pauses is not comforting calm, but a desperate glimpse into Nirvana. Still more madly than before the whole first part of the movement once again rushes past, its savagery emphasized by a sort of march of triumph in the coda, followed at the end by a despairing crash to the depths. It is music reminiscent of the Inferno visions of Dante’s fancy. — Hugo Leichtentritt
#Beethoven250 Day 190
Piano Sonata No. 23 “Appassionata” in F Minor (Opus 57), 1804–6
One of the greats: Bronx-born Murray Perahia.
Beethoven seems to have composed some of his works in contrasting pairs. If so, then the “Appassionata” might be the dark side of the “Waldstein” (Day 181). While the Waldstein bursts into joy, the “Appassionata” retains a tragic tone through to the very end.
One evening in Moscow, in E. P. Pyeskovskaya’s flat, Lenin was listening to a sonata by Beethoven being played by Isiah Dobrowein, and said “I know nothing which is greater than the Appassionata; I would like to listen to it every day. It is marvelous superhuman music. I always think with pride — perhaps it is naïve of me — what marvelous things human beings can do!”
Then screwing up his eyes and smiling, he added, rather sadly, “But I can’t listen to music too often. It affects your nerves, makes you want to say stupid, nice things, and stroke the heads of people who could create such beauty while living in this vile hell. And now you mustn’t stroke any one’s head — you might get your hand bitten off. You have to hit them on the head without any mercy, although our ideal is not to use force against any one. H’m, h’m, our duty is infernally hard!” — Days with Lenin by Maxim Gorky, p. 52
#Beethoven250 Day 190
Piano Sonata No. 23 “Appassionata” in F Minor (Opus 57, 3rd movement), 1804–6
Ukrainian pianist Valentina Lisitsa having fun on an upright street piano in Paris.