Piano Sonata no 29 in B♭ major, opus 106 – Beethoven
by richibi
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here and there, an artwork has presented
itself to me as transcendent, which is to
say that in its presence, I quivered,
experienced a verily cosmic transmission
of energy, a sacred communication
the Venus de Milo, in the Louvre, who
breathed, existed, as I turned a corner
and beheld her, imperiously presiding,
holding undying, immortal court, as a
goddess indeed should, would, and
there profoundly did, and does, I
suppose, still
the “Sistine Madonna“, in the Zwinger
in Dresden, mesmerized me from a
distance as I approached her, along
a long row of corridors, towards a
resplendence that was
incontrovertible, a very epiphany, I
still reverberate recollecting her
incandescent majesty
Beethoven’s Opus 106, his
“Hammerklavier”, is such a work,
not evident perhaps before the third
movement, the “adagio sostenuto”,
which will, I suspect, stop you dead
in your tracks, arrest you from its
very first mystifying moments,
magical, miraculous
Beethoven’s “Hammerklavier” is
the first piece of his to have moved
from being descriptive, narrative,
to being philosophical, meditative
in its motivation, emotions are
evident, but evoked only in the
context of exploring something
grander, something metaphysical,
you come out the other end having
gone to church, having explored a
spiritual environment, you exit
perhaps not absolved, but
somehow understood, reassured,
comforted, counted
a lot, incidentally, like Bach, note,
plying his cantatas and oratorios,
not to mention his introspective
fugues, a not to be unremarked
atavism, how grandchildren
resemble, even imitate, however
unconsciously, their grandparents,
I even have such pictures
more about all of which later
R ! chard
psst: something I found cute as I
brushed my teeth between
the movements, the
“Hammerklavier” is in the
same key as my electric
toothbrush, B-flat major, a
robust, I assure you, way
to greet the morning
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