Not only a remarkable achievement of stamina, memory and dexterity, Julian Jacobson's Beethoven Marathon -- a performance of all Beethoven's thirty two piano sonatas in a single day -- was also an exhilarating, if slightly eccentric, artistic experience, for both performer and audience. The amazing Marathon on 17 October 2004 attracted a select yet enthusiastic gathering to the colourful acoustics of Elliot Hall, Harrow Arts Centre in the UK, sponsored by the Bond Street Boutique, Pinner. The event was in support of the West House and Heath Robinson Museum Trust, the charity of the Mayor of Harrow, who was present for the final concert, alongside several audience members who had stayed the course for the entire day.

One has become accustomed to hearing all the Beethoven sonatas in a cycle over several different concerts, but the notion of combining them back to back seemed entirely apt in this age of charity marathons. Julian Jacobson, a Professor at the Royal College of Music and experienced concert and broadcasting artist, described the idea of performing all of Beethoven's thirty-two piano sonatas in a single day, as 'insane', but also a means of allowing the listener an unique perspective on the style development across Beethoven's entire career, a powerful and persuasive aesthetic experience. In that sense it is interesting that none of the 'great interpreters', such as Schnabel or Barenboim, had ever tried it, and all the more reason to celebrate Jacobson's achievement.

This was in addition Jacobson's second such marathon, the first last year was in aid of Water Aid, at St James's Piccadilly in London. On this second occasion the thirty two sonatas, some ten hours of music, were divided up into four successive recitals. The two morning concerts comprised eight sonatas each, the first devoted to the first decade in Vienna, up to the Pathetique, while the second concert included the Moonlight and the first Op 31 sonata. The third recital, which I was fortunate to attend, began with the dramatic Op 31 No 2 in D minor, the embodiment of the 'new path' of Beethoven's middle period, and concluded with Op 90 in E minor, from the experimental period in between middle and late styles. The final concert began with Op 101 and included the Hammerklavier and three last sonatas.

A recital programme of eleven Beethoven sonatas is certainly a rarity, if not unique, and with Jacobson's arresting, evocative and brilliant performances, the concert as a whole was a most moving, and breathtaking, experience. The highlight for me was a magnetic and involving Appassionata as well as the final E minor sonata with its lyrical beauty. The chronological (published) sequence fell naturally into contrasting groups, the first including Opp 31 Nos 2-3 which contrasted the D minor's riveting turbulence with the E flat's brighter intensity. The ensuing two Op 49 sonatas, composed somewhat earlier, provided 'light relief', Beethoven's charm and playfulness, his classical influences, were conveyed with characterful elegance. There was an especially cheery and relaxed mood in the G major sonata that Jacobson admitted was the first sonata he had ever learned. A more serious mood coloured the next group of three, Opp 53, 54 and 57. The energy of the first movement of the Waldstein, taken at a tremendous pace (time is of the essence in marathons and this helped authentic tempi), was combined with a wonderful mellow timbre from the Fazioli piano; as in the Appassionata that followed, there was never an ugly sound, even in the strongest of fortissimi, whilst the resonance of the pedalled rondo finale of Op 53, and the serene calm of the variation slow movement of Op 57, evinced expressive nuances of shading. In the Appassionata Jacobson found renewed vigour and inspiration: it was an enthralling account which seemed to stretch every mental and emotional sinew. Op 54 formed an ideal contrast between these two monumental sonatas, its more relaxed yet flowing energy controlled and coloured with much subtlety.

Jacobson joked that the beginning of Op 78 was Beethoven's way of being nice to the piano after the violence of Op 57, and his caressing touch brought supple richness to this less often played sonata in F sharp, with its bristling effervescent vivace finale. Its companion work, the sonata Op 79 in G, was projected with wit and delicacy, with an attractively soulful slow movement, and a charming, lyrical finale. These two sonatas suggested a return to classical proportions after the expansion of Op 57, and highlighted the far more romantic experimentation of the sonatas Op 81a and Op 90. The changing harmonies of the famous motto in Les Adieux were evocatively depicted, while every gesture seemed personal and communicative. A tiny memory slip at the start seemed put in deliberately just to remind the audience that this was a human endeavour, for the rest of the thirty-two sonatas were delivered note perfectly, and with great beauty of tone, underlining not only Jacobson's exceptional intellect but his incredible insight resulting from lifelong immersion in Beethoven's music, qualities which deserve exposure to a far wider public. One awaits Jacobson's next marathon with interest and eagerness.

Copyright © 23 October 2004 Malcolm Miller, London UK