Beethoven: Sonata in B-flat major, – Boris Giltburg | Beethoven 32 project

Looking back at the sonatas Nos. 8-11, 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 easy-flowing, good-natured finale are even reminiscent of the sonatas Opp. 2 and 7, written 4-5 years earlier. The opening movement is in textbook-perfect sonata form, putting on hold Beethoven’s 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 Beethoven’s mature works!). However, it is definitely a piece characterised by its sparkle, light-fingered drive and ebullient energy, rather than inventiveness or depth of emotion. Only towards the end of the development (05:05) does Beethoven’s 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