Richard Strauss: Piano Sonata in B minor. Alex Alguacil, piano.

Richard Strauss: Piano Sonata op. 5
00:00 Allegro molto, apassionato
08:26 Adagio cantabile
13:33 Scherzo. Presto
16:20 Finale. Allegretto vivo

Alex Alguacil, piano

Richard Strauss outlined two piano sonatas and several sonatinas before starting the composition of a work in such format that he deemed worthy of publication. That honor would go to a Sonata in B minor in three movements and displaying a considerable mix of styles. After initially showing it to his closest circle of friends, he decided to make a total revision of the work, rewriting some passages and adding a fourth movement, making it the definitive version of the Sonata in B minor, op. 5 (1881-82), which followed models of the classical and romantic Germanic school, such as Beethoven and Mendelssohn. Although these influences may have contributed to this work’s lack of notoriety over time, on the date of its publication this was not a criticism, but quite the opposite: its powerful initial impression and its nobility of spirit were praised, as well as the character in search of independence all emphasized by the young age of the composer.

The first movement, "Allegro molto, appassionato", 00:01 seems to convey an orchestral sound, with piano textures that resemble it, anticipating the instrument that perhaps Strauss already had in mind. It starts with a main theme of four repeated notes, similar to the famous theme from Beethoven’s 5th Symphony (the fate knocking), accompanied by a second gesture of three descending notes, a kind of lamenting motive; this second motive will be used organically in all the movements of the sonata as a material for new themes and ideas. The Beethovenian repeated notes join a group of sforzando and secco chords, in a manner of an orchestral tutti, leading to a passage of descending octaves, appassionato and fortissimo. The secondary and contrasting theme (in D major) is of a lyrical and calm character, its melody conveying different solo instruments of the orchestra. Clusters of orchestral-sforzato chords reappear to culminate in the climax, this time drawn by the three-notes lament motive, before closing the exposition. During the development section the use of different registers on the piano again suggest various orchestral sounds: winds in the upper parts, strings in the chromatic progressions in the middle register, and percussion in the lower part of the keyboard. This is a stormy central section in which the two main motives seem to duel while displaying a bold and virile temperament, exhibiting a heroic and triumphant character that may anticipate later works, such as Ein Heldenleben.

The second movement, "Andante cantabile", 08:26, is a sort of Song without words in the style of Mendelssohn, with a lyrical melody of romantic aspiration that soon is accompanied by a second voice, simulating a love duet. However, it seems to suggest an orchestral sound. This is more evident in the central part of this movement, where again different sections of the orchestra seem to be implied through several piano textures, such as large arpeggios, grace notes in the high register and repeated groups of chords. In an organic and ingenious way, Strauss uses here the three-notes lament motive from the first movement to develop groups of staccato chords, later turning it into a fast arabesque that will be used in the Scherzo of the third movement, 13:33, a piece that recalls Mendelssohn’s Scherzos or his Song without words op. 67, no. 4 “Spinning song”. This Scherzo concludes with a horn call and a false ending in the form of a joke.

The fourth movement, "Allegretto vivo", 16:20, suggests to me a small operatic drama where the duets of the second movement return, this time with greater insistence and alternating moods of joy and sorrow, represented by the changes of major and minor modes. While the first theme comes from the three-notes lament motive, the second theme has clear references to Mendelssohn’s Sonata for cello and piano. Of a similar influence are other compositional devices of this movement, such as the left-hand melodies accompanied by broken arpeggios in the right hand (Jagdlied, op. 19, no. 3) or the "martellato" octaves from the end (Rondó Capriccioso, op. 14). However, the way Strauss transitions between the different themes, the different sections that suggest different scenes and the various duets that suggest different characters give this finale a certain dramatic feeling, somehow anticipating the operatic and theatrical future of the composer.

Alex Alguacil

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🎬 DISCOVERING THE PIANO MUSIC OF RICHARD STRAUSS
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