Beethoven – Sonata #29 in Bb, op. 106 (“Hammerklavier”) Eunice Norton, piano (1965) 5/5

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Beethoven – Sonata #29 in Bb, op. 106 (“Hammerklavier”) Eunice Norton, piano (1965) 5/5

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Beethoven
Sonata #29 in Eb Major, op. 106 “Hammerklavier” (with correct tempi)
4. Allegro risoluto – Fuga a tre voce, con alcune licenze.

Eunice Norton, piano
Recorded in 1965.

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EUNICE NORTON ON BEETHOVEN
(from 1997 liner notes of Norton’s release of Sonatas op. 110 and op. 111)

With Beethoven, there are not the same kind of questions surrounding his work as there are with Bach. We are incredibly fortunate to have an edition with Beethoven’s specific instructions to guide us in our interpretations. The composers before him were not in the habit of preserving as accurately so much information about how to play their pieces. Until this became available, musicians were working in the dark. However, even Beethoven’s instructions go unheeded sometimes, as with the tempo marks for op. 106. I think only Schnabel and I play the piece at the actual speed of his metronome mark, which is 138 for the first movement. Beethoven made his feelings about the metronome well known, so I cannot understand why pianists are afraid to attempt this. Though what we see in his scores may not always be easy to comprehend, we must humble ourselves and finally achieve his instructions. For another example, many pianists ignore the long pedal markings in the rondo of op. 53 [Waldstein] and some of the op. 126 Bagatelles. To ignore these instructions means we cannot even touch these works as Beethoven envisaged them. A musician can only begin to glimpse his towering genius after incorporating them.

I approach Bach and Beethoven differently because of the content of their music. They were men of flesh and blood, and they each had their own nature. The message in their music comes from each of their life experiences and depth of sensing what we all sense. Bach, in his occupation with the church, lived his religion in all phases of his work; as organist, choirmaster, and composer. Because he was absorbed from morning until evening in the music that was to be performed each Sunday, all his compositions carry the nature of his religious fervor. In contrast to this, Beethoven was unattached; free in time, thought, and work. By his time in history, people had a sense of their individuality that was different from those who had lived in previous eras. Then, he underwent a radical transformation after the traumatic onset of his deafness and existed in a detached realm. But Beethoven adapted to this condition, and his musical visions poured forth from a place that was free from the interruptions of the world. He heard more in his deafness than we do with all of our two ears. This is what we hear in all of his miraculous late music.

Musicians must learn to feel at home in the structures Beethoven created for his ideas, and then devote their energies to rising to the occasion of the emotional intensity that backs every sound. Schnabel said about the end of op. 111, “to me, these trills express eternal life.” I’m sure today people feel intellectual embarrassment at the mention of these kinds of words, but they only begin to hint at the spirituality of this music. Beethoven’s truths are unprotected, and stretched to the farthest corners of an immense universe where man is put in perspective but still in the universe. His message is beyond language. This is really why I hesitate to write about his music. Yet, I have written some phrases on my scores that have occurred to me as I’ve practiced, or that I felt were suitable to some moment in a piece, such as “the sound that creates silence” at the end of bar 80 in the last movement of op. 111, or “an attempt to express infinity” for the fugue that closes op. 106. These phrases capture the state I get into when working with Beethoven. But they only touch on a part of the mystery of his music. To quote Ruskin, he is “saying a particular thing in the only possible way.”

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