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• 1 2025-05-16T15:53:48-04:00 Beethoven: Piano Sonata No. 32 in C Minor, Op. 111 - 2. Arietta: Adagio molto semplice e cantabile, contributed by Rin Homma (2025) 3 plain 2025-05-16T16:43:25-04:00
  
  For my Scalar presentation, I choose to share the last movement of Beethoven’s final piano sonata, Op.111 No.32, “Arietta”. Given its unconventional form and ephemeral nature, the Arietta is widely known to be the “death” of the piano sonata form. Where traditionally, a piano sonata comprises three sections- a contained and thematic first movement, gentle second movement, and spirited third movement- the Arietta concludes the sonata as a second movement as a fifteen minute finale. Its construction is immense, larger than life. The first movement of the sonata is a physically and emotionally demanding fight for the pianist, as it demands relentless focus, mental endurance, and an uncompromising technical ability.
  
  During my time with this piece, I perceived it as a fight against life itself- Beethoven, already far along in his deafness, fighting with his whole spirit, tooth and nail. The pain and pure struggle is palpable to the musician, and if effective, also to the listener. After this struggle, Arietta begins somewhere between peace and bliss. There is a clear and identifiable theme, which soars above the mortal world. It is in the simplest key- C major- which draws to it a sense of origin and mortal sincerity. There is a deep joy, peace, and sorrow in the theme that could not be approached but with completeness and acceptance.
  
  The Arietta unravels this peaceful, happy, sorrowful theme across increasingly joyous variations that invite dancelike rhythms until it bursts suddenly into a fit of glorious, unrestrained jazz, retaining the harmonies of the theme yet exploding with energy- to me, this is the epitome of happiness in life. This jovial sensation dissolves into a precarity and a perilous moment of existential peace, ultimately a single interval perfect third that spans the whole keyboard. At this moment, arms stretched across the keyboard, it feels as if one is facing their own reflection in existence. What follows is a mournful conversation in two voices- the self, and someone else- that descends in deepest regrets and apologies. The harmonies shading these voices hint to something sacred, and inexpressibly tragic.
  
  And just as one might think this story ends in sorrow, this dialogue spreads into an overwhelming surge of happiness and acceptance. It reaches the pinnacles of highs and experience, expressing what could only be the joy of having lived life, flying into a precarious, blinding heaven before being laid rest into a C major chord- the earth, where all was made into life.
   
  I play this piece thinking of my own mortality as well as the relationship I had with someone from whom I experienced an ambiguous loss. I hope it helps someone else accept the beautiful relationship they had with their loved one, or with life.