LDV80

THÉO FOUCHENNERET 17 And the idea of pairing it with the ‘Waldstein’? The idea was to offer, along with this key work, a sonata that would connect more easily with the public. The ‘Hammerklavier’ Sonata is very listenable, I hope, but it can seem a bit difficult, even obscure. The ‘Waldstein’ is probably a little better known, and perhaps more directly accessible. Moreover, the two sonatas have much in common: each in its own way is a ‘laboratory’, an incredible source of Beethovenian experimentation, in the history of both the development and the exploitation of the instrument. Let’s take the example of the use of the sustaining pedal in the finale of the ‘Waldstein’; it’s unprecedented, totally innovative. In the ‘Hammerklavier’, conceived for a Broadwood piano, Beethoven has some extraordinary strokes of genius. I’m thinking in particular of the slow introduction to the finale. The two sonatas have a lot in common, you say. Even in their narrative trajectory ? No, in that respect they’re radically different, even quite opposed to each other. The ‘Waldstein’ Sonata has something very ‘resonant’ about it, in the sense of very human. The frequently used key of C major speaks to us directly, and at the same time, it expands the discourse to a universal level. Beethoven doesn’t seek to impress. The mysticism or the dreamlike aspect comes from the slow central Introduzione, which is deeply moving. The ‘ Hammerklavier ‘ Sonata is much more rugged, more confrontational.