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Donald Macleod and pianist Angela Hewitt explore Beethoven's admiration for J.S. Bach and how his study of Bach's music informed his piano sonatas, including the Pathétique.

As part of Composer of the Week's year-long focus on Beethoven, this week the world-renowned pianist Angela Hewitt chooses five contrasting aspects of the piano sonatas to discuss with Donald Macleod. In 2020, Hewitt reaches the end of her survey of Beethoven’s piano works with the last recording in her acclaimed series of his 32 piano sonatas. Begun in 2005, her Beethoven odyssey has been taken at a deliberately measured pace, to give ample space and time to reflect on each sonata, each recording being a testament to her deep understanding of Beethoven. Well known for her award-winning interpretation of Bach’s music, she brings that special insight to Beethoven’s profound admiration for the composer, after which she explores the humour Beethoven injects into his music, the composer’s ability to write cantabile or singing style and how Beethoven responded to the advancement of the piano.

Today Angela Hewitt and Donald Macleod discuss the elements in Beethoven's writing for the piano, which reflect his study of Bach.

Beethoven: Piano Sonata No 3 in C major, Op 2 No 3
III: Scherzo
Angela Hewitt, piano

Bach: Partita No 2 in C minor, BWV 826 (excerpt)
1. Sinfonia
Angela Hewitt, piano

Beethoven: Piano Sonata No 8 in C minor, Op 13 (Pathétique)
I: Grave – Allegro di molto e con brio
Angela Hewitt, piano

Beethoven: Piano Sonata No 28 in A major, Op 101
IV: Allegro Geschwind, doch nicht zu sehr, und mit Entschlossenheit
Angela Hewitt, piano

Bach: Fugue No 17 in A flat major, BWV 862 (excerpt)
Angela Hewitt, piano

Beethoven: Piano Sonata No 31 in A flat major, Op 110
III: Fuga: Allegro ma non troppo
Angela Hewitt, piano

Beethoven: Piano Sonata No 30 in E major, Op 109
III: Andante molto cantabile ed expressivo: Gesang mit innigster Empfindung
Alfred Brendel, piano

Producer: Johannah Smith for Â鶹ԼÅÄ Cymru Wales