Beethoven : Klavier Sonata n°10, opus 14/2 in G Minor
Wim Winters, Clavichord
After having played the clavichord extensively for quite some years now, I still find it remarkable how many of the earlier works of Beethoven, roughly said written before 1800, sounds so well on clavichord. Yes, as a player, one ‘sniffles’ the pianoforte in some notes, some grips, some effects, but overall, the classical technique, closed hands, positioning playing, … still is so close of the world of the clavichord. That certainly applies for the two sonatas op Beethoven’s opus 14/2, and most certainly for this one, the n°2 in G Major.
The clavichord takes you back to the 18th century, where this music, if only due to the date of composing (1799) still belongs. Contrasts become suddenly so big, accentuation’s so pronounced, cantabile lines so … well…cantabile.
Would Beethoven raised eyebrow’s when he would walk into my living room and hear me play this music on clavichord. I don’t think so. We earlier heard the input of Carl Loewe, stating the fact that in 1810, even Gottlob Türk had not exchanged his old clavichord for the new pianoforte. And of course, in Vienna 1800, one of the capital’s of modernization, Beethoven had to compose for the pianoforte, but again, the tradition ran through his blood, and one can feel that while playing his music.
I have made a whole series of videos around this sonata, which you can watch by simply clicking here.