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Mike George – This volume and the two on either side of it include the three Sonatas that Beethoven wrote at the age of twelve, nowadays usually excluded even from complete cycles. For me, they all have had fascinating things to discover within; this F minor one’s probably the most interesting and forward-looking ...

Martin Roscoe – It’s a very striking first move-ment, with an imposing slow introduction which returns later on, just as he did with the Pathétique Sonata a decade or so later. The quick music in the outer movements also has the dark yet frenzied energy which characterises Beethoven’s later works in this key, from the Piano Sonata Op 2 No  1 through the Appassionata to the String Quartet Op 95. While Haydn’s works in F minor tend to be solemn, Beethoven’s have an uncompromising and frequently violent intensity.

MG So we can already recognise in this Sonata the pioneering questing spirit in him at this stage; hints of his future personality too?

MR Absolutely, in both regards, although the charming slow movement is fairly conventional in character and structure, perhaps showing the influence of C. P. E. Bach. The other movements certainly have plenty of drive and with their pro-lific use of bare octave melodic outlines also show a determination and seriousness we’ll encounter later. Is it just coincidence that the Appassionata of over twenty years later also makes much use of this feature, I wonder? Incidentally, I do get rather tired of reading that these early works are

Beethoven Piano Sonatas A conversation between performer and producerjust juvenilia and unworthy of a hearing: although Beethoven didn’t give them an opus number (it was to be many years before he did this to any work), he did have them published. They are fascinating precursors of what was to come.

MG Quite a leap forward to the pair of Op  27 Sonatas, almost twenty years. Can we still recognise the same composer?

MR It’s quite difficult to see much similarity in the language, although the bold gestures in the first movement of the youthful F minor do give some indication perhaps of what was to come in the Op 27 Sonatas and, of course, all the boundary-pushing which ensued from 1803 onwards.

MG You mention “boundary-pushing.” The four Sonatas that Beethoven completed in 1801, Opp 26-28, all pursue different paths. Each of the Op 27 pair he called ‘Sonata quasi una fantasia.’ What was he striving for here?

MR Of these four, Op 28 is the most conventional in structure, while Op 26 [DXL 1164] opens with a variation movement before continuing in a more or less conventional way. The Op 27 Sonatas are wholly unconventional, not least in the instruction that movements are to played attacca (only the last two movements of the Moonlight are not linked in this way). The E flat Sonata opens with an Andante whose very simple theme is varied on repetition in a simple way. There are two episodes, the first continuing the tranquil mood with a rich sonority, but the second (an Allegro in the remote key of

C major) explodes brilliantly to provide a shocking contrast. This is Beethoven’s most experimental opening movement in any work to date.

MG Yet that very simple theme couldn’t be by anyone other than Beethoven! It’s a movement that leaves listeners (and I suspect the performer, too) suspended in mid-air, inconclusive, unful-filled. The C minor Scherzo that follows is full of shadowy half lights but also defiant and driven.

MR I particularly love this Scherzo (interesting that Beethoven doesn’t call it that) and its bucolic Trio! The Adagio which then follows proceeds as though it’s going to be a fully-fledged slow move-ment with its inimitable Beethovenian gravitas until a short cadenza-like passage takes us back to E flat major for the final sonata rondo.

MG So like the first movement, the slow move-ment suggests more than it delivers, at least ini-tially; how does Beethoven end this Sonata, given the inconclusiveness of these movements, and is his quasi una fantasia experiment successful here?

MR Triumphantly successful I’d say. The final movement is fairly conventional until, suddenly, Beethoven reintroduces the opening phrase of the Adagio and finishes with a hell-for-leather Presto! In just a quarter of an hour, we’re treated to a roll-ercoaster of mood and meaning of such daring and panache that there’s hardly time to draw breath!

MG A case of less is more, perhaps, with the total-ity of the structure providing the satisfaction come

the end? A different structural angle explored in the next quasi una fantasia Sonata though ...

MR The Moonlight is probably the second most famous work by Beethoven after the Fifth Symphony, and, as so often with the most well-known works, it’s easy to take for granted just how ground-breaking it is. First, the choice of C sharp minor as its key, which was hardly ever used by any earlier composers (and only used once more by Beethoven himself ), and second, to open with an Adagio sostenuto with a low dynamic level throughout, and which has constant slow triplet movement, is a stroke of utmost daring and genius. The hypnotic calm - which led to the nickname it has carried ever since - and the funereal dotted rhythm of the main theme result in an overwhelm-ing feeling of tragedy.

MG Under the hypnotised state, there’s something sinister ...

MR Very sinister, yes, beneath the glacial stillness: there’s barely a hint of a crescendo, let alone climax. The following Allegretto dispels the gloom in the gentlest of ways; although Beethoven didn’t call it a minuet, it has the character of one. The Trio is more assertive in a rustic way, but the movement serves its purpose mostly as a bridge between the extremes of the outer movements.

MG In the last movement, Beethoven tries to move the weight of the whole sonata structure towards the end. Not totally new for Beethoven but no light-hearted rondo would work here.

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MR This is something Beethoven often did, unlike his predecessors (Mozart’s last three symphonies excepted), and the preceding Sonata also has its longest movement at the end; the last three Sonatas Opp 109-111 [DXL 1163] carry this even further forward. In the Moonlight, we have a blistering and uncompromising minor-key Finale, something Beethoven had already done in Op 2 No 1 and which he was to repeat later to even more spectacular effect in the Appassionata.

MG Touching on Beethoven’s music in one of his final interviews, Glenn Gould said he considered Op 28 among the very best: “Beethoven’s sense of structure, fantasy, variety, thematic continuity, harmonic propulsion, and contrapuntal discipline were absolutely miraculously in alignment,” citing the “sense of peace” and “wonderful ... radiance.”

MR I couldn’t disagree, especially the sense of peace and radiance. It’s said that Beethoven’s fa-vourite Sonata overall was Op 78 but the Andante of Op 28 was his favourite movement of any of his own Sonatas. The name Pastoral that has become attached to this Sonata strikes me as apt, especially in the first movement, although the reflective mood of the exposition is certainly undermined by the stormy turn of events in the development.

MG I gather the Pastoral label was added by the publisher when first printed in England. Perhaps it applies particularly to the Finale’s lilt, but looking at its first movement, I’m drawn into parallels with the opening of the Pastoral Symphony: being gently anchored to a pedal note, in particular.

MR The parallels with the Pastoral Symphony are telling, especially in the use of extended tonic pedals. Whereas composers often use a dominant pedal to increase the dramatic effect, there’s some-thing consoling and satisfying when the pedal is on the tonic, as it often is in both these works (even if the Sonata’s title was added by a publisher!). There’s also an unusual preponderance of the use of the subdominant, even as early as the Sonata’s third bar, which adds to the relaxed feeling.

MG And that relaxed feeling’s enhanced by the movement’s broad expanse; it is unusual for us to find Beethoven in such an unhurried state, with energy taking a back seat.

MR It’s unusual, but Beethoven’s never predict-able. The opening’s benign mood is followed by a development using the same material to threaten-ing effect, a device he repeats in the last movement.

MG As well as the outer movements, the middle ones in this Sonata also both keep D as their tonal polarity. Perhaps something else that adds to the unhurried - even on one level - static state we encounter in this Sonata.

MR Possibly it does, but coincidentally the other D major Sonata Op 10 No 3 also has the same tonal base in all four movements, but that is a very different work in terms of character. The Andante in Op 28 uses, in its main theme, a very clever pia-nistic device where the right hand has a sustained melody supported by chords over a staccato left hand which seems to imitate a pizzicato cello - not

easy to achieve, but very effective. Beethoven also used this in the slow movements of Opp 2 No 2 and 7, although here it’s particularly telling.

MG It’s also one of those movements Haydn would have been proud of. And I suspect the Scherzo would have appealed to his sense of humour too!

MR The subtle variations in the reprise of the open-ing of the Andante could have been inspired by Haydn’s double variation form, and the Scherzo’s one of Beethoven’s most outrageous, without any of the dark undertones he often employs. It’s also the shortest movement in any of his piano sonatas.

MG We’ve talked about the “pastoral” qualities of this Sonata, but unlike the Symphony of that title, it doesn’t have a narrative. So instead of a final benediction, the Finale ends with a flourish ...

MR It’s a completely different idea: that final Presto is by far the most challenging passage in the whole Sonata, but it certainly leaves us with a feeling of exuberance and optimism.

MG So to the last Sonata on this CD, and one that sets Beethoven on another new journey. I’m struck in Beethoven’s music by opposites: how, for example, the odd- and even-numbered symphonies inhabit different characters, how this incredible man could write, say, the Fifth and Sixth Symphonies side by side. But it’s rare to find those opposites at play to such an extent in a single movement, yet that’s exactly what we find in Op 54’s first movement.

MR Yes, the elegance of the increasingly orna-mented opening theme of the Tempo di Menuetto is sharply contrasted with the vigour and angularity of the second idea: most composers wouldn’t put them next to each other. And, of course, there’s also a huge contrast between the two movements, with the second being a moto perpetuo at a moder-ate Allegretto tempo (unlike the ferocious one which concludes the Appassionata). In Op 54, it’s a sonata form movement with both parts repeated (plus an up-tempo coda), but Beethoven gives us the shortest possible exposition and a hugely extended development, deliberately giving the feeling of a free fantasia, especially in view of the bewildering modulations it contains.

MG F major is the key Beethoven often kept for his most quirky sense of humour – as well as the Sonata Op 10 No 2, I’m thinking of the Eighth Symphony and the final Quartet Op 135. Is the brand of quirkiness in Op 54 what perhaps makes it difficult for listeners to adapt to its wavelength and get on with it?

MR It’s certainly true that all these works in F  major do have more in the way of humour than Beethoven’s works in, say, E flat or C major, although I don’t think any of the F major works you refer to suffer from unjust neglect! As well as the unusual two-movement structure, I think Op 54 is unfortunately sandwiched between two of Beethoven’s most popular sonatas, Waldstein and Appassionata; a pity as its quality undeniably makes it worthy of equal attention.

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In an ever more distinguished career, Martin Roscoe’s enduring popularity is built on a deeply thoughtful musicianship allied to an easy rapport with audiences and fellow musicians alike.

Martin has worked regularly with eminent conductors including Simon Rattle, Mark Elder and Christoph von Dohnányi and with leading orchestras including the BBC Philharmonic Orchestra, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra, Hallé, Manchester Camerata, Northern Chamber Orchestra and with the Royal Liverpool Philharmonic Orchestra. As one of Britain’s most prolific recitalists, Martin has also performed regularly across Europe, the Far East, Australasia and South Africa. His chamber music partnerships include long-standing associations with Peter Donohoe, Tasmin Little and the Endellion and Maggini Quartets as well as more recent work with Jennifer Pike, Ashley Wass, Matthew Trusler, the Vertavo Quartet and the Cropper Welsh Roscoe Trio.

Martin is one of the most regularly played pianists on BBC Radio 3, including seven BBC Prom appearances. He has made many commercial recordings as well as this Beethoven series for Deux-Elles including the complete piano music of Nielsen and Szymanowski, as well as four discs in the Hyperion Romantic Piano Concerto series.

“One of the truly great recordings of the Waldstein Sonata … perfect musical judgement and a formidable technique from Martin Roscoe” - BBC Radio 3 (DXL1162).

Teaching has always been an important part of Martin’s life and the development of young talent helps him constantly to re-examine and re-evaluate his own playing. He is currently a Professor of Piano at the Guildhall School of Music in London. Martin is also Artistic Director of Ribble Valley International Piano Week and Beverley Chamber Music Festival.

Martin lives with his family in the beautiful English Lake District, a wonderful place that provides inspiration and relaxation, and enables him to indulge his passions for the countryside and hill-walking.

The Complete Beethoven Piano SonatasMartin Roscoe

Volume 1 Pathétique DXL1161 Op. 10 No. 1 Op. 10 No. 2 Op. 10 No. 3 Op. 13Volume 2 Waldstein DXL1162 Op. 7 Op. 49 No. 1 Op. 49 No. 2 Op. 53Volume 3 Final Trilogy DXL1163 Op. 78 Op. 109 Op. 110 Op. 111 Volume 4 Funeral March DXL1164 Op. 14 No. 1 Op. 14 No. 2 Op. 22 Op. 26Volume 5 In the beginning… DXL1165 WoO 47 No. 1 Op. 2 No. 1 Op. 2 No. 2 Op. 2 No. 3

Volume 6 Moonlight DXL1166 Op. 27 No. 1 Op. 27 No. 2 Op. 28 Op. 54 WoO 47 No. 2Volume 7 Tempest DXL1167 Op. 31 No. 1 Op. 31 No. 2 Op. 31 No. 3 WoO 47 No. 3Volume 8 Appassionata DXL1168 Op. 57 Op. 81a Op. 101Volume 9 Hammerklavier DXL1169 Op. 79 Op. 90 Op. 106

DXL1166

Producer Mike George Recording Engineer Patrick NaylorBooklet Notes Martin Roscoe and Mike GeorgeCover Design Frank Parker, A Creative Experience Recorded in Potton Hall, Suffolk, 28th Apr 2008 (Op. 27 No. 1), 7th Sep 2008 (Op. 27 No. 2), 22nd Jan 2010 (Op. 28), 23rd Jan 2010 (Op. 54) 18th Feb 2011 (WoO 47 No. 2). 2016 Deux-Elles Limited, Reading, UK.www.deux-elles.co.ukC P

Mar t in Roscoe

B e e t h o v e n P i a n o S o n a t a s

MoonlightVolume 6

Piano Sonata in E flat Op. 27 No. 1 Andante – Allegro – Andante 4:55 Allegro molto e vivace 1:58 Adagio con espressione 2:45 Allegro vivace 5:27 Piano Sonata in C sharp minor Op. 27 No. 2 ‘Moonlight’ Adagio sostenuto 5:33 Allegretto 2:14 Presto 6:57Piano Sonata in D Op. 28 ‘Pastoral’ Allegro 10:33 Andante 7:01 Scherzo. Allegro vivace 2:13 Rondo. Allegro ma non troppo 5:15Piano Sonata in F Op. 54 In tempo d’un Menuetto 6:03 Allegretto 6:02Piano Sonata in F minor WoO 47 No. 2 Larghetto maestoso – Allegro assai 3:48 Andante 4:04 Presto 3:18

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