Classical Music for All is the musical blog of the Pianist Boris Giltburg. For more articles see here.
Picking right where the first part ended, let’s go on to the development:
03:14 – above the long held chord quiet activity ensues, full of energy which is held in check for the moment. Believe it or not, but these are the first three notes of our dreamy second subject, played sharply and with each note repeated twice. It’s a two voice affair, with a second voice entering at a dissonant interval just as the first voice finishes at 03:15 (such a device is called ‘stretto’, meaning ‘narrow, tight’ in Italian, and, I’m guessing, related to ‘straits’). This second voice scurries up and down from 03:16 on, and the left hand makes its appearance with two quiet but tense chords at 03:19. This is followed by a quick exchange of repeated notes between the two voices at 03:20-03:23 (one could imagine two mechanical constructions communicating with each other).
This exchange leads directly into another stretto entrance at 03:23, this time higher in pitch and a bit louder (the second stage of what is to be a very long buildup). This time the scurrying up-and-down runs (from 03:25 on) are spread over a bigger area of the keyboard, and are accompanied/accentuated by slaps as they reach their highest points (03:26, 03:29, 03:31) and by the same two quiet but tense chords we had at 03:19 at their lowest points (03:28, 03:30, 03:32). Yet another exchanges of repeated notes takes place 03:32, more complicated this time, as at 03:35 it shifts half a tone higher and goes on for a bit longer (a more complex communication, if you wish). This leads into –
03:38 – the third stage of the buildup. The right hand continues with yet another stretto entrance, but this time it’s just the backdrop to a melody in the middle voice (which makes us suddenly realize we had no proper melody in the development prior to this; I really love the way Prokofiev does it – moving aside what previously was more than enough material to occupy center stage and making it but the accompanying layer to a new voice; it’s as if the focus has shifted and we understand the true proportions of things – or so we think). This melody, heard clearly from 03:39, is a fuller version of our second subject melody – the one which the repeating-notes stretti in the right hand are based upon – and it’s constantly accompanied by a motoric right hand, filling the gaps between the notes. After it’s finished, at 03:43, the right hand plays one more stretto entrance, to which an old acquaintance is suddenly and forcibly added at 03:45 – the main motif of the sonata. Just to sum up the levels of complexity at this point: a harmonic chord in the bass, a melody in the lower middle voice, two voices with repeating notes above it, and at the apex the opening motif of the movement (cool, isn’t it?).
03:46-04:00 – this entire section is a chaotic
mess mixture of the various motifs: repeated notes in the middle voice, forcible notes in the bass, two appearances of the stretto motif (03:48, 03:52) and numerous appearances of the opening motif, both in the four-note and the shorter three-note version and also in an expanded five-note version, with the first note repeated one extra time (03:49, 03:51, 03:54, 03:59 for a few examples). All of this over a very big crescendo, which finally leads us to –
04:00-04:10 – and we thought our focus had shifted at 03:38 with the introduction of the melody in the middle voice… The second subject now appears in its full horrible splendor in the right hand, high above the rest of the proceedings and twice as slow (a device called ‘augmentation’), while all around it the rest of the motifs battle among themselves – I find the effect terrifying. You’ll recognize the various motifs by now, but note the augmented main motif at 04:00 and 04:04 (left hand) beside the usual shorter versions which abound. At 04:10 there’s a lull at the melody and the lower voices take over, going first up then down, followed by two quick upward arpeggios at 04:12-04:13 (snarls to me) and a final shriek by the main motif high above, at 04:13.
This leads us to 04:14-04:36 – the biggest climax so far. The full second subject (04:00 had just the first part of it) appear in the middle voice (played by the thumbs of the two hands in unison), gaining even more in weight and presence, while all around them chaos reigns. Note the quick upward runs at 04:15-04:16 and 04:20-04:21, each followed by a crashing chord at 04:16 and 04:22. These chords are marked by Prokofiev col pugno, meaning ‘with the fist’ in Italian, and they are literally to be smashed with your right-hand fist on the keyboard as a cluster of notes (and I find that they startlingly resemble the sound of dropping bombs or shells, especially after the whistle of the runs preceding them). Also worth noting is the barrage of repeating octaves in the left hand (04:24-04:26) hammered out for extra aggression, and the keyboard-crossing upward run at 04:31-04:34, capped with yet another shriek of the opening motif – which then closes the section with one last appearance deep below, at 04:35-04:36.
04:36-05:01 – a heavy-plodding section based on two motifs: the second subject melody appears once again, but this time it’s coupled with the bridge section motif – remember that quietly slithering line from 00:49? Well, it’s the same one at 04:38-04:41 and from 04:46 onward, just much louder, heavier and badder. This is all incredibly aggressive (just listen to the angry twirl at 04:45 or to the thuds at 04:54), and while performing it makes me feel like as if I were playing heavy metal – you really vent all your anger in a place such as this (something we rarely get to do as classical musicians; it’s a lot of fun). It gets even louder toward the end of the section, and then we get to –
05:02-05:11 – a shrieking section, based on the four-note descending motif of the closing section of the exposition (02:26), with bits of the second subject woven in (05:05, 05:08, 05:10). As aggressive as the one before (though it’s all sharp and biting here), there are even two glissandi (quick slides over the keys) at 05:06 and 05:09 for extra effect. There’s an obsessive, repeating quality to those shrieks, as if coming from an animal trapped in a cage and unable to break out.
Things start to calm down (though real calmness is still far away) at 05:12, with three repeats of the four-note descending motif embellished with trills (05:12-05:15), which then continue into a descending chromatic line surrounded by several repeats of the opening motif (05:15-05:20). The chromatic line then takes over, becoming calmer yet and getting accompanied by a softer series of chords (05:21-05:25). But then things explode one last time at 05:26. We hear a new motif, which is one very typical to Prokofiev – the ticking clock. Loud at first, it soon subsides and makes place to several melodic appearances of the opening motif (05:28, 05:33, and more slowly and cautiously at 05:41). Note the change of harmony at 05:38: becoming slightly inquisitive, as if questioning that these horrors could really have just happened. From 05:44 things begin to fall apart – the clock motif becoming fragmented and slowing down. And then, at 05:53 appears our old malicious friend, that last motif of the exposition (02:59), framing the development on both ends – whatever meaning we attribute to it, I find this idea wonderful as a storytelling technique. At 06:00 the right hand joins in, doubling the left, and together they slow down completely by 06:03.
And at 06:05, after two seconds of silence, all of the aggression of the opening is once again unleashed onto our ears – we’ve arrived at the recapitulation. 06:05-06:28 is a full repeat of the first 15 seconds of the movement, with two changes: the more obvious one is that the first sentence (06:05-06:13) is played one octave lower than in the opening, a darker, more condensed sound, which makes the return to the normal pitch at 06:20 seem all the more triumphant (even radiant, in an ugly way). The less obvious change is that at 06:05-06:13 Prokofiev swaps the first two beats in the left hand, the downbeat now being a harsh dissonance, and the second beat becoming a pure consonance. This leads to a skewed feel, as if the marching soldiers were now limping along lopsidedly (though things right themselves at 06:20).
06:29-06:54 corresponds to the Mordor horns section of the exposition (00:25-00:41), but with quite a change of mood. The melody is in the upper voice, and the marching feel is gone completely; the melody is accompanied instead by what was a calmly flowing line in the second subject section (02:02). Melodically this section consists once again of two short sentences (06:29-06:37, 06:42-06:49), but the buffer parts between those two become much more interesting – both sentences grow in volume and end up with an explosive chord (06:37, 06:49; relatives of those bomb-like ones from the development, though not played with the fist this time). After these chords there’s a gradual climb up back to the melody, first hardly discernible, then becoming clearer, as if dust were settling down after an explosion.
06:55-07:14 – this section is based at first on the second subject melody (you’re probably recognizing it by now), with the same flowing line for accompaniment we’ve had in the previous section, but already by 06:59 things start to go sour in the middle voices, and starting from 07:02 Prokofiev abandons his melody completely and embarks instead on one last buildup, towards one last climax. The hands grow more and more apart, as the right hand keeps climbing higher and the left hand keeps crawling down chromatically. Tension steadily rises, there is a slight slowing down in tempo as we get to the extremes of the keyboard (07:11-07:14), and then here it is –
07:15 – the final climax of the work. Prokofiev completely breaks away from the sonata from structure by this point and instead of making the recapitulation a simple repeat of the exposition, he lets it bear what is probably the heaviest, most ponderous moment of the entire movement. Those heavy chords are based on the clock motif from the end of the development (05:26), with bits from the second subject melody thrown in (in its loud and high-pitched version from the development). Things seem to quieten down at 07:21, only to return with full vengeance at 07:28. The sequence is repeated then: a semblance of a calming down at 07:31 (with a haunting, pale specter appearing at 07:34: a ghost-like reminiscence of 05:21), but the war is not to be done away with, and it returns yet again in full force at 07:43, followed by what seems once again to be a calming down (07:45-07:51). You’ll probably doubt its truthfulness by now, and you’ll be right: at the very end of the movement the opening motif returns for one last, triumphant appearance (07:52), and this highly dissonant movement ends with on a highly dissonant chord (07:55), which is left to fade away, unresolved.
Well! That’s it :-). I hope you’ve enjoyed, though perhaps this is not the right word here – but I do hope that this guide managed to make this really complex and sometimes opaque music clearer. And if you’re then able to listen to this movement once again and get some enjoyment from it, then I’ve totally done my job.
I’ll end with a plug – should you like to get the CD, it’s on sale on all Amazon websites (both in a physical and a downloadable copy) among others, as well as on iTunes and other music distribution networks. And it’s not all aggression – though harsh sounds do appear throughout the three sonatas, the movement we’ve just discussed is probably the most dissonant of them all. In some of the others, plenty of softer, even lyrical music is to be found. And taken together these three sonatas have likely not been surpassed in Prokofiev’s piano output in terms of depth, colors, imagination and some incredible writing for the piano, all combined for a very strong effect..
See you next time! BG.
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