On the polar side of interpretative tradition of Beethoven sonatas Hans von Bülow should be mentioned at this point. He proposed another model of recital programs, approaching the historical concerts from the intellectual structure line and defining the performance as an eloquent pianist.
Bülow strictly disapproved elementary recital programs with short piano pieces, rather he wanted to develop such an encyclopedic design of the presented works. His performance of the last five piano sonatas by Beethoven on a single concert evening produced enthusiasm and rejection at the same time. He simply caused this kind of reaction because he intended to “educate” the audience to achieve a higher intellectual perception and understanding of Beethoven’s musical message.

The quintessence of Beethoven interpretation probably remains a matter of taste. The reception of Beethoven’s music by the audience has been mostly influenced by the personality of the pianist and his own execution of the works.
Nevertheless the unavoidable question of choosing between a faithful reading of the score and a more creative, even inventive and inspiring interpretation still characterizes the main concern.

By paying attention to the concert scene, I notice that today’s concert pianists seem to follow the musical text adherence as a rule for the interpretation of Beethoven sonatas.
Text adherence does not necessary mean to express the intrinsic being of Beethoven.
The creator of a masterwork is greater than his creation, the mental form of his work contains more than the written indications using notes, dynamic instructions, pedal signs and tempi.
I truly believe that pianists who are seeking for the right interpretation of Beethoven sonatas should try to discover the truth in between the written notes. This truth may appear hidden at first glance, but understanding Beethoven is nothing but a work in progress…

“Beethoven wrote everything in the score!” – some insiders would certainly affirm that. And it is true.
But most pianists seem to forget, or at least, to let expression completely aside when playing Beethoven.
The musical power of communicating was the real language that Beethoven consequently used to express all thinkable human emotions. From anger to serenity, from sadness to happiness, from pain to freedom, from resignation to joy. Each Beethoven sonata is a reflection of his spirit at that particular time of the Opus number and year thereof. When a pianist is playing his sonatas, then he is reading his musical diary. When a pianist has understood those works, then he is experiencing Beethoven.

Meeting Beethoven means facing his spirit. This can be possible only when letting go the inspiration through the expression of his works. Interpretation is not just textual fidelity to the score, it is far more than that. It is discovering the truth between the notes, understanding the meaning of an abstract language like black lines and signs and points on the paper, it is finally enhancing the human power of expression to reach the spiritual need of the soul.
That´s Beethoven, force of spirit.

Unfortunately, most pianists are not aware of this, they prefer to stay attached to the music text, thinking this is interpretation.

A look inside this topic in the upcoming essay on Artist’s thoughts.

The musical titan, his force of expression, his masculine character, his spirit, his work, his piano sonatas: all these attributes led me as an artist to be devoted to Ludwig van Beethoven´s work.
I didn´t really know why I was going to engage myself with it, as I began to be intensively involved in the study of the 32 piano sonatas.
But I felt with the power of spirit that I have to go on this journey. Those compositions were “sleeping” in myself for a long time, just waiting to awaken, so I did it and let them come out.

Since I feared his most difficult work, the Hammerklavier Sonata, I had first the intention to study it when I would have finished the work with all the other sonatas.
But this turned out as a false conclusion.

An inner voice was suddenly speaking to me and saying: „Start immediately with the Hammerklavier Sonata! Don´t wait! This piece will be like a „love-hate“ relationship until you will be able to really understand it.“
Hereupon I began to study the work very intensively, the Hammerklavier sonata became my daily bread and butter, I never hated the piece for a single moment, and I was obsessed particularly with the final Fugue.

I discovered that this sonata is the key to all other Beethoven´s sonatas. Once the Hammerklavier has been understood, the musical message of Beethoven has been disclosed.

This is certainly one of the most demanding tasks for a pianist, but to approach labyrinthine and complicated things is a perfect challenge for me, trying to reveal the quintessence of them.

As a woman I feel a big duty coming closer to Beethoven´s musical message.

By all means I do not intend to compete with other male colleagues, but rather to create another way to experience Beethoven´s music.
This has nothing to do with ego, it rather leaves out egocentrism to reach selflessness.
Thereby the identification with Beethoven happens.
As an artist it is a mission for me to perform this wonderful symphonic piano music for the people and to make it hearable as the Master himself was able to hear it only with his heart and inner ear.

„ Music is a higher revelation than all wisdom and philosophy.” (L.v.Beethoven)

Beethoven used these words to make a clear statement to the people of his time and to posterity. He considered music as the highest form of expression.
As a composer he was absolutely conscious about the strong influence of his art to other people. Beethoven had particular preference for the instrumental form of the string quartet, he also declared that his way of imagining the sound was always symphonic.
Nevertheless he found the perfect expression of all his emotional feelings through the piano sonata form.

A similar huge work cannot be found in the whole piano literature like the 32 piano sonatas compendium, which is still a difficult enterprise for a pianist, even today, about 200 years later. Mastering them requires to grow and to mature as a musician for a deeper understanding of Beethoven´s style and sound.

These works belong as well to the concert programs of pianists and complete recordings are normal practice in the classical music market.
This mammoth program contains, anyway, some special touch in its own character.
Those interpreters who are venturing to the „New Testament of piano music“ (Quote by H.v.Bülow) are praised and admired for this gigantic artistic undertaking.

This repertoire can be certainly considered as a men-dominated field.
I believe that the complete piano sonatas cycle has been performed by at least ninety percent male pianists. By comparison, female pianists perform this complete work quite rarely.
So men are contending the majority.

Are then Beethoven´s sonatas an absolute „big boys-repertoire“?
Does his music have such a strong masculine character?

The answer is not in the gender, but in the absolute identification with Beethoven and his music. Through this identification a woman can unleash a new power from these wonderful piano works, and maybe she can even suggest a totally new interpretation of Beethoven´s piano sonatas.

Suggestions of different piano works for a practice session:

Begin:

• J.S.Bach, Well-Tempered Clavier Book II – Prelude and Fugue D Minor BWV 875

Connected work:

• L.v.Beethoven, Piano Sonata D Minor Op. 31 No. 2 – “The Tempest” / First movement

Related works:

• S.Rachmaninoff, Piano Concerto D Minor No.3 Op.30, First movement
• Bach-Busoni, Chaconne / First part to the begin of the D major key section (quasi Tromboni)

You can take these practicing ideas to build a large repertoire. Try this every day, rotating with other pieces and being creative in the combination of them for your session. Be sure to remain highly concentrated during the whole practice, otherwise your work will be unproductive and unreliable.
If you have any questions, don´t wait and ask for help by simply posting a comment.

What is actually the art of the motivic thorough-composition?
Developing a theme is nothing but the quintessence of the composer´s work.
How does it happen?
No matter how often, how slowly, or fast, or even loud or soft the theme is announced, this is a very personal decision of the composer. The motif could even be the emblem, which is representing the entire musical work of the author.

Let´s draw our attention to the striking theme from Beethoven´s fifth symphony:

Score picture: Beethoven – Main theme from the Symphony No.5 Op.67- Source: Wikipedia

This is doubtless one of the most important and innovative themes in the music history. Figuring the steady fight of Beethoven against the fate, this famous opening strongly influenced the further development of the traditional sonata form.
According with insiders, the sonata form represents the central point of the art of composition, especially when considering sonatas and symphonies of the 18th, 19th, and 20th century.
This musical form could be compared to a framework, in which the object is constructed and developed, in this case the musical work as the sonata or the symphony.
Let us get back to our motivic thorough-composition.
If we consider this composing technique as the composer´s logo, we could fervently be tempted to ask the question, whether the way to a successful interpretation drives us either to remaining true to the score or true to the masterwork.
In answer to this question we should remind of the issue of this essay.
The motivic thorough-composition is hearable.
To make this happen we need to apply a particular art of piano playing, which goes far beyond the usual technical abilities.
The control of the kinesthetic feeling only represents the fundamental skill to reach the effective technical abilities on the instrument.
To achieve this goal means the comprehension of accurate analysis and synthesis of the composition´s structure.
The interpreter is identifying himself with the composition and his playing is inevitably modified. Let us think again about the symphony, the motivic thorough-composition includes the complete identification with the creative thought of the composer.
So it can be affirmed that “symphonically” thinking is equal to “symphonically” feeling, and last means “symphonically” playing or reproducing.
The motivic development of a musical work is directly related to a symphonic-structrured knowledge: deeply understanding how a theme is developing and evolving through the way of polyphonic manner.
A pianist receives the basic education in polyphony studying J.S.Bach, particularly the Preludes and Fugues from the Well-tempered Clavier.

Further steps in polyphony can be pursued in the 32 piano sonatas by Beethoven.
Continuing the research of mysteries and enigmas of the polyphonic style can guide us to works by Chopin, Brahms and Rachmaninoff. When discovering Prokofieff´s music we can actually meet the union of polyphony and polyrhythm.

As a conclusion we can say that the circle always closes, in life, in the universe, as well as in music. Music is the language of universe, and universe is polyphony.
Once we understand polyphony, we even understand the motivic thorough-composition.