Written Text: a resource for performance-interpretation of Beethoven’s piano sonatas Opp.106, 110 and 111 in a Christological context

Abstract

Beethoven’s last five piano sonatas are considered the most difficult works in the entire piano literature to understand, interpret and perform. Their difficulty arises from execution and understanding compositional construction. Three of these, Opp.106, 110 and 111 are considered in this thesis, emphasising Op.106. Chapter one explores the technical approach Beethoven developed to produce the unique piano sonority that characterised his playing, the compositional design, the philosophical, psychological, sociological and biological factors that likely influenced the emotional significance of these sonatas are expounded. Chapter one also discusses the possible mechanism by which Beethoven achieved the unique quality of sound in his performances. He composed to a narrative, if the narrative is to be realized through performance, then the motifs and their development must ‘sonically’ depict the story line of his narrative. To find likely narratives for Opp.106, 110 and 111 vocal music was examined to discover if motives in these piano sonatas were present in vocal music, because the text set to these motives may hold clues to the significance of these motives and hence to the narrative. Narratives are constructed for these sonatas with a more comprehensive narrative for Op.106. A general conclusion draws together the major ideas of each chapter focusing on performance-interpretation of these three works implicitly showing how sonority and narrative is inextricably linked.