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Donald Macleod and pianist Angela Hewitt examine how Beethoven incorporated the technical advances made in the manufacture of the piano in his writing for the instrument, including the Hammerklavier.

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.

In their final conversation, Donald Macleod and Angela Hewitt discuss how bigger pianos gave Beethoven full rein to write music which was completely modern in its time.

Piano Sonata No 23 in F minor (Appassionata), Op 57
I: Allegro assai
Angela Hewitt, piano

Piano Sonata No 17 in D minor (Tempest), Op 31 No 2
II: Adagio
Angela Hewitt, piano

Piano Sonata No 29 in B flat major (Hammerklavier), Op 106
I: Allegro
Paul Lewis, piano

Piano Sonata No 26 in E flat major (Les adieux), Op 81a
II: Abwesenheit (absence): Andante espressivo
III: Das Wiedersehen (reunion): Vivacissimamente
Angela Hewitt, piano