Beethoven: Sonata No.4 in E-flat major, Op.7 – Boris Giltburg | Beethoven 32 project

In 1796, a year after the successful publication of the three sonatas Op. 2, Beethoven composed the Grande Sonata for Pianoforte, Op. 7. By the 'Grande' designation, Beethoven wanted to single it out as a special work, which didn't need other sonatas to be published as an opus. Later, he would give the same epithet to the Pathétique, the Waldstein and the Hammerklavier.

And the grandness totally applies to the music. It is a tangible evolution from the earlier three works, with extra richness in its textures and timbres (the E-flat major key lending itself to glowing brilliance – think the 'Emperor' concerto years later!), and a more organic integration of virtuosity and music. But perhaps the biggest shift is in Beethoven's imagination – the very concept of what a sonata could be seems expanded; it is as if a previously two-dimensional painting began to acquire depth.

A bravura first movement, overflowing with effervescent energy and good-natured humour, presents an abundance of melodies and motives. Beethoven's writing is almost orchestral – one could easily hear horns in the opening, jolly oboes and bassoons in the bridge section and multi-layered string tremolos in the codetta. The exposition is so chock-full of material that Beethoven keeps the development to a minimum: just a short dramatic episode. To balance it, an even more virtuoso coda finishes the movement.

The second movement is the dramatic core of the piece: an unfolding narrative, its opening an early embodiment of 'Innigkeit', this elusive word, part heartfelt, part hushed and awed, part personal and treasured. Replete with poetry, it reaches a purely orchestral climax, in which Beethoven demands a crescendo on a single note – an unplayable effect on any keyboard instrument, but one so easily done with string or woodwinds. The ending achieves even greater heights of lyricism – surely among the most beautiful pages written by Beethoven.

A simple, sincere elegance permeates both the third movement and the finale. Both contain a middle section in minor – hushed and shadowy in the third movement (in the deep-flat key of E-flat minor), stormy and dramatic in the finale. But it is the charm which prevails in the end, bringing this grand sonata to a surprisingly serene, low-key end.

Boris Giltburg, piano

Filmed by Stewart French

Filmed at @FazioliPianos Concert Hall, Sacile, Italy

[BorisGiltburgPiano]

Allegro molto e con brio – 0:06
Largo, con gran espressione – 8:06
Allegro – 14:53
Rondo. Poco Allegretto e grazioso – 20:29

[Presalagor]

Tiffany Poon sent me here! Brilliant performance!

[PaulVanBladel]

Amazing musician. Very clear and precise.

[DomLaFerlita]

Thank you for sharing! Underrated sonata in my opinion!

[arongach]

The middle of the 3rd movement is incredibly wonderful!

[FastnFuriousCDN]

Just wonderful Boris. Cheers my friend!

[jducvin]

Выдающийся Талантливый !
Bravo Maestro ! Almaty Kazakhstan

[danielangelo]

Merci infiniment ! On apprend beaucoup en regardant vos vidéos ! One of best Beethoven I've ever heard!

[altoclef]

One of my favourite Beethoven sonatas played very close to my personal taste. Very clear playing, not afraid of Beethoven's love for dynamic contrast. Nice tempi.
Is it possible to relocate spots for Youtube commercials so they don't emerge in the middle of movements?

[quaver]

Thank you. Marvellous. You are amazing, Mr Giltburg.

[widerhorizon]

So you have a plan to publish this wonderful explanation~ this needs to be published cuz something worthy to be read should have a form of a 📖 ☆ it doesn't matter ebook or traditional book. 😀

[mrdrgriffin]

This dude plays with very little pedal ...#respect