Beethoven – “Pastorale” Sonata, no 15, opus 28‏

from the very beginning of this musical series I’ve
been wanting, looking forward to, highlighting
somewhere, somehow, this incandescent piece
by Beethoven, but hadn’t yet found either a
complete nor, more significantly, a worthy
interpretation, though one briefly came and
went in a blazing virtual, as it were, transit, that
would’ve been perfect, and may now be never 
seen again, o, vast, too vast, eternity   
 
here Konstantin Semilakovs, not even a finalist at
Competition last September, 2012, the competition
must’ve been severely tough, plays an enchanted
rendition 
 
Beethoven is at the height of his euphoria here,
after his 7th sonata, his opus 10, no 3, he’d
followed through with his still resounding 8th, 
hisPathétique“, opus 13, through several
significant others to just before this one his
 
the Pastorale“, his opus 28 – “pastorale”,
incidentally, usually retains the German spelling,
for the feminine word in German “Sonate”, and
it is generally pronounced, with an enunciated
“e”, that way – is in all of music the piece I find
the most enchanting, I call it my “Johnny
Appleseed” sonata for its youth, freshness,
exhilaration, sense of adventure, infinite and
effervescent possibility, there isn’t a single
adagio here, note, just, at the very slowest,
an andante, a normal walk, there’s too much
wonder and fascination in the music to slow 
anything here down
 
you’ll note that Beethoven doesn’t too much
sway from the rigours of Classical structure,
the beat doesn’t significantly, nor even
infinitesimally much alter, though there are
some idiosyncratic Romantic liberties taken,
not an uncommon occurrence, by the interpreter,
fully redeemed however by his magical, meticulous 
rendition
 
nor does Beethoven touch tonality, we remain
always in the same key, each according to its
own movement
 
repetition is also there in spades, but you get
there only after he’s taken you through a veritable
rabbit hole, like Alice, and you don’t even know
where you are, where you started, but there you
are again suddenly, to your enchanted wonder,
but already he’s starting you up again for another
apparently iteration, o joy, o even ecstasy  
 
 
note intimations of Prokofiev already a century
earlier in the third movement, the sprightly
scherzo (allegro assai)”, note the eccentricity
of the syncopation, already the future is here,
spreading its nascent but fully burgeoning
wings into even our very own 21st Century,
decisively, we will not hang Beethoven out
to dry, that’d be like losing Shakespeare
     
 
the elements of Classicism, to summarize, 
remain strong with Beethoven, even essential
to his conception of music, the profound
difference is with the impact of the piano,
soft, loud, the hold petal, his use of volume,
his use of, from solemn to effervescent, pace 
 
with these opportune tools he changed the
face of music, channeling through them his
profound, his supremely inspired, genius,
becoming along the way and incontestibly
the Homer, the highest priest and most
revered elder, of Western music, to this very
day unchallenged, still not outshone, nor
even ever yet matched, just listen 
 
 
Richard   
 
psst: you might want to compare this Beethoven  
           with Schubert’s  “Wanderer” Fantasy, for
           their itinerary spirit