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.

„ 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.