Beethoven (Rolland)/The Piano Sonatas
THE PIANOFORTE SONATAS
1st Sonata, Op. 2, No. 1, in F minor.
The first Sonata has the usual four movements of the Haydn form: Allegro—Adagio—Menuetto and Trio—Prestissimo. The first and the last are in the usual Sonata form proper. The slow movement follows Mozartian lines. This Sonata is the first of the set of three in this Opus, which are all dedicated to Joseph Haydn, and the fact of such a superscription points to the respect which Beethoven had for the older composer, although he could not find it in his heart to continue with him long as his pupil. The whole of the Sonata, which appeared for the first time in 1796 and was probably written much earlier, is decidedly con. ventional in form, and shews us Beethoven starting on the lines laid down by those who went before him—Philip Emanuel Bach, Haydn, and Mozart.
The first movement is pure Haydn music, and the only glimmer of the future Beethoven comes in with that lovely little tune at the Coda. The development portion is thin and characterless. The first subject of the second movement was adapted from an early pianoforte quartet. A similar process was resorted to in the first movement of the third Sonata of this set for the second subject. The expression of this movement is not deep, nor does it sound that note of serenity which we regard as the chief characteristic of a Beethoven slow movement of the mature period.
The Minuet and Trio is purely Mozartian, especially in its double counterpoint and its in version of parts. Some characteristic touches are found in the second subject of the last movement, which is in two parts, and the use of an altogether new subject in the development portion. This device is next used in the Sonata in F, Opus 10, No. 2—a device carried to great perfection in the development portion of the first movement of the Eroica Symphony. The use of this broad subject does away with any idea of development, although the movement is built up on a figure of three chords, a point referred to in both codas. The first part of the second subject has that weird, foreboding feeling, which we feel frequently in Schumann's music. Already he shews a striking fondness for the diminished third; but the passage is not particularly striking. Far otherwise is the beautiful little tune of eight bars which forms the second part of this subject.
2nd Sonata, Opus 2, No. 2, in A.
Allegro vivace—Largo appassionata—Scherzo and Trio—Rondo grazioso.
There is a distinct advance in the second Sonata. Although there are still the accepted four movements, the Minuet has now become a Scherzo. This Sonata was probably written shortly after the first, and in it we see how quickly Beethoven took a firm hold of form and design in construction. There is a feeling of considerable power about the first subject, and its short, pithy figures promise well for the development portion, a fact of which Beethoven takes immediate advantage.
The second subject has a dual tonality, beginning in E minor and ending in E major. This, of course, reappears in the final section in A minor and major. There is considerable double counterpoint, and we have the characteristic rumblings in the bass. The canon in three parts at the octave, in the development portion, taxes the right hand of most players. The recapitulation is shortened and considerably altered.
In the Largo Appassionata we get very near to the grandeur of Beethoven's middle style. The opening subject has serenity, and there is scarcely anything passionate in the whole movement which breathes of solemn yet tender earnestness. This movement may be regarded as either in Rondo form or in Ternary form. There is a powerful episode in flats near the end, but the music closes with an epilogue full of tender feeling.
We find a right boisterous joy in the Scherzo, which is evolved from one single little figure. The sequence of dominant seventh chords in the bridge, however, was already somewhat hackneyed even at that time.
The final Rondo is a graceful movement which owes much to Mozart. An episode leads to the second subject in E major, and this in its turn to the re-appearance of the first subject in varied form. Then comes a stormy episode in the minor which gradually subsides into the return of the first subject, then of the second subject, and finally winds up with a long coda containing reminiscences of all the subjects.
3rd Sonata, Opus 2, No. 3, in C major.
Allegro con brio—Adagio—Scherzo—Allegro assai
This, the third of the set of the three early Sonatas dedicated to Haydn, appeared for the first time on March 9th, 1796, when Beethoven was twenty-six years of age. Eugen d'Albert regards this Sonata as essentially a virtuoso piece. This is saying rather much, although he is right in warning the interpreter against any attempts to render it mysterious by hyper critical subtleties.
The first subject of the opening movement is a typical Beethoven one, evolved from a short figure of two bars. Some brilliant passage work then occurs. It was certainly Beethoven's custom at this early period to regard such passages in a more physical sense. The second subject enters with a dominant minor section, followed by a major section, in which appears some fine canonic work. The minor part of this subject, which was adapted from an early pianoforte quartet which Beethoven had written in his youthful period, abounds in the turns and trills characteristic of that time. The broken octaves in the coda are frequently rendered now-a-days by alternate double octaves between the two hands in demisemiquavers.
The development is much more Beethovenish, containing some striking double octave cataclysms. There is also a very fine enharmonic change from an F minor chord to F sharp minor. The Coda is noteworthy as it includes some fine arpeggio effects and a striking slow cadenza.
The second movement, Adagio in E major, opens with one of Beethoven's dignified slow themes, which is sandwiched in Rondo fashion with disturbing episodes throughout. The first episode (in E minor) contains conversational work between the bass and the treble, the left hand crossing the right for the latter. At the end of the return of the first theme, there is a very striking example of an interrupted cadence—the dominant chord of E major being followed by the tonic chord of C.
The Scherzo (three-four time) is in C major, and should be taken at a fast rate. It is one of those movements which would have been better written in six-four time by running two bars into one.
The final movement is a grandiose Rondo—six-eight time—in C major, which requires a good technique, especially for the left hand. The second subject is somewhat conventional, but the next episode contains one of those lovely hymn-like tunes in which Beethoven delights. For the third episode, the subject of the first episode is repeated, but here in the tonic key; thus making the form what is known as Modern Rondo or Sonata Rondo, in contrast to the old Rondo in which every episode was different. The Coda is remarkable and is certainly of the virtuoso order. I never play it without thinking of the Coda to Mendelssohn's Wedding March. The sequences at the 15th bar after the Vivacissimo are not easy to finger . D'Albert fingers the upper part, 3, 4, 5, and the lower three notes with the thumb. Larger hands will produce a better effect by fingering the right hand top notes, 4, 5, 5, and the alto, 2, 1, 1. The triple shake near the end is frequently played by an alternation of six-four chords in either hand. There is a remarkable example of an interrupted cadence here, where D becomes D sharp leading to an A major chord. These unexpected rallentandos and calando before the strepitous rush home become a standing characteristic in Beethoven's music.
4th Sonata, Opus 7, in E flat.
Allegro molto e con brio—Largo con gran espressione—Allegretto Minore—Rondo.
This Sonata which appeared for the first time on October 7, 1797, is dedicated to the Countess Babette von Keglevics. The composer, at the age of twenty-seven was rapidly winning his spurs, but still wrote on the old lines and with the customary four movements. His Minuet however has now become a lively movement and lost all traces of its origin in the stately dance. It is quite likely, however, that the Minuets of Haydn and Mozart were also taken at a lively rate, incompatible with the dance.
The first movement in regular "Sonata Form" is in six-eight time, in happy mood. The joyous rhythm is occasionally emphasised by sforzando syncopations. The subjects are all very taking, and there are some striking modulations in the development.
The Largo is full of religious calm. There is a striking interrupted cadence at bar 19, and one of those majestic march-like movements for the second subject, which on its return at the end, appears as a tenor melody. The movement is full of rich colouring. The tones of the flutes and other wood-wind instruments, may be imitated in parts also the song of birds.
The first part of the Allegro, which takes the place of the Minuet movement, is much more extended than usual. In place of the Trio, we have a movement in the tonic minor of low broken chords, full of that brooding sadness to which Schumann and Brahms in later days became so prone. This is linked up, however, to the return of the first joyous theme to which it forms an effective foil. The final Rondo in E flat is real Mozart, and Mozart at his best. Play the first subject through, sixteen bars in length. Still the bridge passage which follows is real Beethoven He seems fairly obsessed with his little figure, unable to let it alone, repeating it no less than thirteen times in succession. There is a virile second subject. The middle episode is stormy and difficult to play unless one divines intuitively the right action. There is a remarkable enharmonic change on the last page but one, where the tonality is moved up a semitone from B flat to B natural (a device of which the composer is fond), returning seven bars later on by the chameleon-like "diminished seventh" chord. Reference is made in the Coda to the rhythm of the stormy middle episode which is here turned to good use in the brilliant peroration.
5th Sonata, Opus 10, No. 1, in C minor.
Allegro molto e con brio—Adagio Molto—Prestissimo.
This Sonata is dedicated to the Countess von Brovne, and appeared for the first time on September 26, 1798. It is in three movements—the slow movement in A flat major. There is no Minuet or Scherzo, the Finale instead being instilled with the spirit of the Scherzo.
The first movement is the usual development form, the first subject being composed in Beethoven's usual manner of two figures here, (a) upward flight, (b) soft chords. It ends with a decided perfect cadence, the bridge subject entering after a bar's silence. It is noteworthy that the second subject on its return appears in F major, before settling down finally into C minor. This first movement, although in the minor, breathes a happy contented spirit, which deepens into seriousness in the Adagio. This opens with a beautiful 16 bar phrase. We then pass straight into the second subject, a florid one in a lighter vein of thought, closing in E major. A sprinkled dominant seventh takes the place of the development section, and the whole is then repeated. For the Coda, the first subject has passed into that serene happy atmosphere which only Beethoven's spirit seems to have penetrated. The Finale is again cast into development form, and is typical of the way Beethoven expands his movements from the smallest idea. There is a beautiful hymn-like second subject. Characteristically enough, just before finishing this bubbling movement joyfully, the composer falls into a deep reverie, but only to brush it aside almost impatiently by returning to the original idea.
6th Sonata, Opus 10, No. 2, in F major.
Allegro—Allegretto—Presto.
The tenth Opus, which first appeared on September 26th, 1798, contains three Sonatas, all dedicated to the Countess von Brovne. The Sonata is in three movements—the first a movement of development, the second a Scherzo, and the third a playful Presto. The whole Sonata is cast in happy mood. The mysterious and somewhat eerie feeling of the Minuet being completely dispelled by the happiness of the Trio (which , curiously, enough, Brahms seems to have written over again in his Scherzo in E flat minor). The mood at the first part of this Scherzo has a close relationship with the Scherzo in the Eroica Symphony.
There are several noteworthy points about the development of the first movement. It opens with a treatment of the last three notes of the exposition in capricious manner. The development closes, too, with this idea, but it also contains a completely new subject in D minor. The prevalence of this tonality brings in the return section irregularly in D major. The Presto is one of those playful movements, full of fun and written broadly in Sonata form lines.
7th Sonata, Opus 10, No. 2, in D major.
Presto—Largo e mesto—Menuetto—Trio—Rondo.
This Sonata is one of the greatest works of the first period, if not, indeed, the greatest of them all. The first movement is a wonderful evolution from the first four-note figure, the development full of all kinds of strong devices, the stormy episode in the middle based on the rhythm of the opening phrase of the Sonata and the marvellous slow movement full of passion and tenderness, from its opening five-bar phrase to its beautiful close with those amazing tonic pedal chords. The spirited Minuet, really a Scherzo with two bars taken as one, is admirably contrasted with the Hunting Song of the Trio. Did Beethoven ever use the horse which Count Brovne gave him? The fine Rondo is cast on the old lines but filled with such new feeling.
The structure of the slow movement is in song form with five sections:—
(a) Theme in D minor in two parts with cadences in C major and A minor.
(b) Modulatory section from F to D minor.
(c) Theme in D minor with cadences in B flat and in D.
(d) Development of the (a) and (b) sections.
(e) Concluding portion.
8th SONATA, (Pathètique), Opus 13, in C minor.
Grave—Allegro di molto e con brio—Adagio cantabile—Rondo.
Published for the first time in 1799, and dedicated to the Prince Carl von Lichnovsky. Although one of the few authentic titles, it is difficult to see the meaning of its bearing of the Sonata as a whole, unless indeed it is applied to the sad and dramatic introduction theme which, indeed, deserves as a leading motive to the first movement being introduced before the development section, and it ends just before the coda. The slow movement is of wonderful serenity and breathes a great religious calm. Still, it was a great offence against good feeling to make a double Psalm chant out of it as one of our cathedral organists has done. The Rondo does not quite reach the high plains of the first two movements, it was probably written much earlier; note the reflective mood again just before the final whirlwind. There is по Scherzo or Minuet in this Sonata.
9th SONATA, Opus 14, No. 1, in E major.
Allegro—Allegretto—Rondo.
The two Sonatas in this Opus, which is dedicated to the Baroness von Braun, are not very interesting. No. 9 has no slow movement. The meditative feeling having, apparently, crept into the Allegretto, which should again be taken as two bars in one. The Rondo in E is of great beauty and finish. The middle episode has again the feeling of a hunting song.
They appeared for the first time in December, 1799.
10th Sonata, Opus 14, No. 2, in G major.
Allegro—Andante—Scherzo.
The first movement, in Sonata form, is a remarkable example of the growth of a whole movement from a single germ.
The Andante is an air with variations. The form of this is really ternary, although if the second part be repeated, it will throw the theme into five sections, A, B, A, B, A. The first variation places the air in the tenor, the second divides the harmony rhythmically, the third breaks up the harmony into semiquavers. Purists hold that this movement is wrongly barred throughout, the first beat coming where the third now is.
In the last sprightly movement, the Scherzo and Finale seem to have sun into one.
11th SONATA, Opus 22, in B flat.
Allegro con brio—Adagio con molta espressione—Minuetto—Rondo.
Dedicated to the Countess von Brovne.
This Sonata is the finest since the Opus 10, No. 3 in D. It is not so deep in feeling as some of the preceding pieces, and the composer's pre- occupation with development somewhat duly prolongs the first movement. It is full, however, of characteristic vigour for its own sake, and the Adagio, long-drawn as it is, possess a great charm.
This long-drawn meditative piece is the only case in the Sonatas of a slow movement having all the elements of the true Sonata forms—exposition and development, recapitulation, coda. If the Adagio breathes of the open country, the Minuet savours of the salon. In this rather old-fashioned Minuet, the Trio is styled "Minore." The Rondo with four refrains, the last two varied.
12th SONATA, Op. 26, in A flat.
Andante con variazioni—Scherzo—Marcia funebre—Rondo.
Dedicated to the Prince Carl von Lichnovsky.
This Sonata was announced for the first time on March 3rd, 1802. Two of the movements are in slow time—an Air with Variations, and a "Funeral March on the death of a hero." The March is said to have been written as a set-off to the popular one of that day in Paer's opera, Achilles.
It is not a lamentation, but rather a tragic elegiac picture set in an impressive frame. One feels the throb of brass, the blare of trumpets, the roll of muffled drums, the impressive pageantry of death. The opening Andante is beautiful, and in the variations the theme breathes as it were through a thin lovely veil. The technique looks backwards rather than forwards, and the movement ends with a calm phrase. The final Rondo bubbles with life ceaselessly until it disappears in a faint whisper.
13th Sonata, Opus 27, No. 1, in E flat.
Sonata quasi una Fantasia.
Andante—Allegro—Andanie—Allegro molto e vivace—Adagio con espressione—Allegro vivace.
Dedicated to Princess Lichtenstein.
This Sonata was first published together with the following one in C sharp minor on March 3rd, 1802. They were both composed in 1801, the happy year of the composer’s love for Countess Giuletta Guicciadi. The term Fantasia by no means implies formlessness, but rather a departure from the ordinary Sonata form. The first movement—an Andante, full of light and shade—is held by purists to be wrongly barred throughout, the first beat being the third, and so on. It is followed by an Allegro in C major which leads back to the return of the Andante, this time varied. The Allegro, which takes the place of the Scherzo, is full of imagination and vigour. The slow movement is used as a bridge leading into the Finale. All the movements are chained together in one whole. Just before the precipitant Coda, Beethoven takes a final glance back at the subject of the Adagio,
14th SONATA, Opus 27, No. 2, in C sharp minor.
Adagio sostenuto—Allegretto—Presto agitato.
The title page describes the work as for clavecin or pianoforte. The nickname, Moonlight," given to it by the poet Rellstab, has no authority and only serves very faintly to define the peaceful charm of this sensitive picture, which was more probably inspired by the composer's romantic love for the Countess Giulietta Guicciardi. The direction in Italian, "to be played throughout with the greatest delicacy," is significant, although the term senza sordini is somewhat vague. It may have meant that it is to be played with the sustaining pedal, i.e., without the dampers. It is probably a general indication that the piece requires the pedal to sustain each harmony, for nowhere is harmony put to such effective use as in the dreamy yet placid opening Adagio. There is scarcely a stir, except where an occasional minor 9th causes a slight emotional ripple.
A little Allegretto takes the place of the usual Minuet. It might be a dance of peasants, heard in the distance. The restless and passionate Presto is one of the finest movements in all the master's works.
Like the preceding Sonata, all the movements follow on without break. But there is a definite organic connection between them, the Finale, and the opening movement in particular. Compare the first four semiquavers of the Presto with the second quaver group of the Adagio, and the quaver chords in the second bar of the Presto with the melodic figure in bars 5 and 6 of the opening movement.
The second subject of the Finale has three well. defined sections, the first melodic, the second dolorous expressive chords, the third a souvenir of the first. The Coda is one of the most deeply expressive things Beethoven has ever written. It ends with a powerful gust of unpent passion.
15th Sonanta, Opus 28, in D major.
Allegro—Andante—Scherzo—Rondo.
Dedicated to Joseph Eiden von Sonnenfels.
It was christened by the Hamburg publisher, Cranz, with the name of "Pastoral Sonata." The autograph is dated 1801, and the work is exceeding happy in mood, the last two movements almost boisterously so, the Finale being a mad gallop home. This Sonata has four movements, and it is most probable that it was written before the two Fantasia Sonatas. The first movement opens with a phrase of nine bars over a gentle tapping tonic pedal. It is a splendid specimen of development by elimination and condensation. In the middle portion, just before the recapitulation, the phrase seems almost to disappear into thin air.
The Andante in D minor, with its epigrammatic Trio in the tonic major, was once a great favourite with the composer. The Scherzo which despite its title is really a Minuet, is one of his happiest, and the Rondo is full of the joy of field and forest.
16th SONATA, Opus 31, No. 1, in G major.
Allegro vivace—Adagio grazioso—Rondo.
This Opus contains three Sonatas—a favourite grouping with the composer. Although No. I was published in 1802, this Sonata, so simple in technique, has the feeling of having been conceived much earlier. The Adagio, with its elaborate flowery passages of no particular meaning, drops back to the Hummel style, and is developed to a considerable length. The Rondo is bright and sunshiny throughout.
17th Sonata, Opus 31, No. 2, in D minor.
Allegro—Adagio—Allegretto.
One of the most splendid of all Beethoven's Sonatas. The opening movement is full of the most speaking of all Beethoven's sonorous and passionate recitatives. The Adagio is in full binary form. It is very expressive, entirely evolved from a three. note figure, a little Hummelian. The final Allegretto is all spun out from the little four-note germ said to have been suggested to the composer by the cantering of a horse.
18th Sonata, Opus 31, No. 3, in E flat.
Allegro—Scherzo—Minuet and Trio—Presto con fuoco.
In this characteristic work, where we find both a Scherzo and a Minuet, the former in duple time, we again return to four movements. The mood throughout is of unclouded happiness. It is extremely interesting throughout, from the first bar which opens in an original manner with the "added sixth" chord to the Coda which returns to the same idea.
The Scherzo is in one of Beethoven's freakish moods, full of capricious turns and fun of all kinds. The third movement is a true Minuet of the olden style, whilst the Presto is one of those cantering movements the germ for which must have been derived from the hunting songs of the people.
19th Sonata, Opus 49, No. 1, in G minor and major.
Andante—Rondo.
This and the following Sonata, although published in 1802, must have been written much earlier; in fact, the theme of the G major Rondo was the original of the Minuet of the Septet.
20th Sonata, Opus 49. No. 2, in G major.
Allegro ma non troppo—Minuet and Trio.
This Sonata contains little of interest, both the Allegro and the Minuet are in the olden style.
21st SONATA, Opus 53, in C major.
Allegro con brio—Introduzione—Rondo.
This fine Sonata, too often made a mere piece of virtuosity, was dedicated to Beethoven's early friend and patron, Count Waldstein. The form is remarkable. A first movement, full of light and colour, and the romantic Molto Adagio forming an introduction to the final Rondo with its magnificent Coda. Beethoven originally intended the famous Andante in F for the slow movement of this Sonata, but finally discarded it in favour of the present slow introduction. The second hymn-like subject of the first movement does not appear in the tonic key, either in the exposition or in the recapitulation, but only after the final development near the end of the piece. The simple subject of the Rondo was the result as shown of six separate attempts in Beethoven's note-books. The whole meaning of it is lost unless the low C of the left hand is taken into the phrase. It will then be seen to have a close connection with the opening figure of the introduction. The full effect of the Coda is often lost by the preceding Rondo being taken too fast.
The glissando octave passage in it is very difficult on modern pianos on account of the deeper key fall.
22nd Sonata, Opus 54, in F major.
This remarkable Sonata, which appeared for the first time in April, 1806, is in two movements only—a Tempo d'un Menuetto, in full binary form (more like a Sonata movement than a Minuet), and a Allegretto con moto (somewhat Etude-like), with a Prestissimo Coda in which the hands very easily get tied up. This Sonata is comparatively little known, doubtless on account of its over topping neighbours, the Waldstein and the Appassionata. Bulow metronomed the opening movement at the quite moderate rate of 104 to the crotchet. The octave bravura subject appears there in its full majesty. The cadenza is noteworthy.
23rd Sonata, Opus 57, in F minor.
(Labelled Appassionata by the publisher Cranz).
Assai allegro—Andante con moto with variations—Allegro ma non troppo.
This Sonata, which was dedicated to Count Franz von Brunswick, is perhaps the most truly characteristic of all Beethoven's sonatas. The usual portrait of Beethoven with the massive jaws firmly set, the upturned eyes, the visage lined by suffering, the head of a Titan, might be quite appropriately placed here in the volume of the Sonatas, rather than at the beginning; for with the deep passionate note which sounds ceaselessly throughout the first movement and the immense vitality of the Finale, the calm beauty of the Andante with its variations, it holds the palm amongst all sonatas written for the clavier. Hackneyed it certainly is, but even through the indifferent temperaments of mere finger players, the immense force of the ideas easily penetrates.
It is a superb example of the growth of Beethoven's immense creations from two of the tiniest of germs (a) the first three opening notes—C. A flat, F—(b) the C, D, C in the third and fourth bars. The whole sonata grows as naturally from these as the huge oak from the acorn. Bridge subjects, second subjects, coda figures, the chief theme of the Andante, as also the impetuoso subject of the Finale, are all derived from these two little germs. Lenz calls the Sonata "a volcanic eruption, which rends the earth and shuts out the sky with a shower of projectiles." The first movement and the last movement have truly immense codas.
For a clue to this sonata, Beethoven told an enquirer to read Shakespeare's Tempest.
24th Sonata, Opus 78, in F sharp major.
Adagio cantabile (4 bars)—Allegro ma non troppo—Allegro vivace.
This Sonata was composed in October, 1809 (considerably later than L'Adieux Sonata, which was published in July, 1811) and appeared for the first time in December, 1810. Thus an interval of five years separates it from the Sonata Appassionata. It was dedicated to the Countess von Brunswick, and the piece was a special favourite with the composer. A delightful feeling of happiness pervates the whole piece, and one cannot help feeling that this cheerful mood drew the composer to the choice of this radiant key. The first four bars form a sort of question to which the succeeding Allegro supplies the answer.
The movements are succinct in form, almost epigrammatic, and whilst very gracious and pleasing, are not hefty for all sorts and conditions of hands. The opening phrase of the Finale is very striking, so, too, is the coda with its wonderful disappointed cadence and its equally marvellous finish. The intricate work of the arpeggios relates it to the E major Sonata, Opus 109, and all the way through it, there is a curious oscillation betwixt major and minor modes.
25th SONATA, Opus 79, in G.
Presto alla tedesca—Andante—Vivace.
This is practically a Sonatina, and calls for little mention. Some authorities regard it as an unfinished sketch, whilst others ascribe it to a considerably earlier date although it was clearly completed in 1809. The term Tedesca means "in the German style," and has reference to the country dance, Ländler. Beethoven employs the term only twice in his published works—here and in the fifth movement of the B flat quartet, Opus 130, where he describes the movement in one of the sketches as Allemande Allegro. In a Bagatelle, No. 3 of Opus 119, he uses the term in French, A l'allemande.
The first movement gives some good practice in crossing the hands. The second movement might easily be mistaken for a gondolier's song by Mendelssohn. The third movement is a lively Con Moto in simple Rondo form.
26th Sonata, Opus 81a, in E flat.
Adagio—Allegro—Andante espressivo—Vivacissimamente.
Styled by Beethoven himself, Les adieux, l'absence, et la retour. (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is truly representative of his mature period. The interrelation of the whole of the music, its close affinity with the opening musical motto of three notes, under which Beethoven wrote Lebe-wohl (Fare thee well) is astounding. Whether written in clear notes or obscured subtly, this leading motive lies at the bottom of every phrase. It is the generating idea, the essence of the whole Sonata. Although we have styled it programme music, it would be the greatest mistake, however, to regard it as something pictorial and definite. The idea is only used as the generating impulse of each of the three chief movements, and the work loses no whit (perhaps, even gains) by being heard as a piece of absolute music. Those interested in musical psychology will find it, however, a most interesting study to trace the derivation of the various phrases of the opening Allegro of the Andante (see bass chords), and even of the Finale to one of the two tiny cellules found in the first three bars of the introduction. The movements are all in Sonata form. The Andante has no development section and runs into the Finale without break.
27th SONATA, Opus 90, in E.
Con vivacità a sempre con sentimento ed espressione—Non troppo presto (Rondo).
This work, completed on August 16th, 1814, appeared for the first time in June, 1815. It is in two movements, and is one of the first works in which Beethoven gave bi-linguial tempo indications (Italian and German), the other example being Les Adieux Sonata, Opus 81. On one occasion, in 1815, when the Englishman Neate was discussing the meaning of music with Beet- hoven, the composer admitted somewhat vaguely that he "never worked without a picture in his mind." Be this as it may, the composer was always greatly enraged when other people at- tempted to fix pictures to his music, as did the publisher who gave the title "La chasse" to the unchristened overture, Op. 115. The first movement has a tender wistful charm and romantic feeling; it is the very poetry of sound. The first subject with its three themes is square-cut, exactly 24 bars in length, ending with a perfect cadence in the tonic key. The development is closely knit, and the overlapping phrases with their diminuation and augmentation, which bring in the return of the first subject, are as wonderful as they are convincing.
Schindler relates that Beethoven, referring to these two movements, said: "The first might represent 'Combat between Heart and Head,' and the second, 'Dialogue with the beloved one.'" Be this as it may, the Rondo, judging from the interior evidence, was written first. In many of his sonatas the only connection apparently aimed at between the various movements is that of right contrast and suitable key-relationship.
28th Sonata, Opus 101, in A major.
Allegretto ma non troppo—Vivace alla Marcia—Adagio ma non troppo—Allegro risoluto.
Dedicated to Freün Dorothea Ertmann and performed for the first time as new on February 18th, 1816; it was not published until February, 1817. With this Sonata we reach the third period of Beethoven's works, that in which reflection and philosophy play such a great part. Many passages in some of his latest works reach such a massive spaciousness that they seem to lose all touch of human comprehension. Beethoven was seeking a new style, in striving after which his music became more and more contrapuntal. One cannot help connecting his use of the fugue in many of his later works with this new phase. But it was not the fugue of Bach, but one filled with sublimity and mysticism in which he attempted to render the spiritual force more and more concentrated, the meaning sometimes becomes completely dissipated in his attempt to grasp and hold it. Such is not the case, however, with the fugue with which this Sonata ends. It grows out of the chief theme of the Finale and forms the development portion in this combination of the Fugue and Sonata form proper.
The martial feeling in the first movement seems to have produced a substitute for the Minuet or Scherzo movement. The trio with its prolonged coda is in deep poetic vein. The Largo is permeated with profound feeling and is connected with the Finale by a reminiscence of the first movement. The whole work is entirely happy and presents an untroubled frame of mind.
29th Sonata, Opus 106.
Allegro—Scherzo—Adagio sostenuto—Fugue.
The first two movements were finished in April, 1818; the two last were composed in the summer of that year. The Sonata was ready for publication in March, 1819, but did not appear until September, 1819. It carried the sub-title "Sonata for the Hammerclavier."[1] It is dedicated to the staunch friend and patron, the Archduke Rudolph, and is the longest of all Beethoven's sonatas, being about twice as long as the longest of the others. The first movement (over four hundred bars in length) is evolved from the two little germs contained in the first two bars. There is a long bridge passage in which derivative themes occur before the second subject in three sections. A long development follows and a superb return with a powerful coda. In the three bars preceding the return, all the "A sharps" are usually misprinted "natural." This A sharp should be the enharmonic of the following B flat.
The Scherzo is fantastic in the extreme. From the playful mood of the first part it is suddenly plunged into the inexpressible anguish of the minor trio. A short Presto unison phrase of eight bars brushes this aside, a tremor on a minor ninth preceding the happy return of the Scherzo.
The Adagio is one of the sublimest things in all music. It certainly reaches heights which transcend the limits of the piano. A remarkable passage, which changes mood no less than six times, forms a sort of prelude to the final fugue which is drawn from the opening germ of the work. It is a struggle of giants, unbridled in its onslaught. Fuga a tre voci, con alcune licenze Beethoven marked it, and its great licences and amazing contortions have puzzled many minds. The heavenly interludes, however, transport one into the pure air of the Sanctus of the Mass in D. The similarity of the opening phrases of the Allegro, the Scherzo and the Adagio, should be noticed. It was by such means that Brahms later on strove to unify the separate movements of his longer forms.
30th Sonata, Opus 109, in E major.
Vivace ma non troppo—Prestissimo—Andante and Variations.
Dedicated to Maximiliana Brentano.
Written at the age of fifty, it seems possible that he poured into these later instrumental movements much that he felt was beyond the vocal forms of the great Mass in D which was occupying his thoughts at this time. The rhapsodic first movement with its light and happy figures, repeatedly broken in upon by the deeply expressive Adagio phrases; the remarkable uncouth Scherzo with the subject in the bass and the angelic variations, one in fugue form, and the other a tour de force with its thrilling pedals, the beatific return of the theme at the end, given this sonata a high place amongst the happiest conceptions of the master.
31st SONATA, Opus 110, in A flat.
Moderato cantabile—Molto allegro—Arioso dolente—Fuga.
The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedom. The second movement is one of those fast pieces, somewhat fantastic, with which Schumann has made us familiar at a later period. A remarkable recitative bridge portion follows which leads into one of the most beautiful airs ever penned by Beethoven, the Arioso Dolente. This runs into the Fugue, which is here used not so much as a movement in itself, but a concentration of the chief expression of the whole piece. Vincent d’Indy compares the expression here with that of the 15th String Quartet, Opus 132, written four years later, which contains the Song of gratitude to God for his goodness. In this Sonata, we have as it were a terrible combat against misfortune, then a return to life and hope, not in a calm pious prayer, but in an exultant hymn of joy triumphant.
The subject of the final Fugue is a simplification of the initial idea of the first movement. This opening movement is penetrated with a great religious calm. The Scherzo is somewhat puzzling, but appears to be a somewhat sorrowful frolic, a rather bitter amusement. In the Fugue, suffering disappears; even fantastic cleverness comes to the fore with the subject in contrary movement. Little by little life and joy return, and with the reestablishment of the tonic key, the piece triumphs in an enthusiasm of good feeling. The Italian indications to this sonata are fuller and more unusual, and show that Beethoven was aiming at the deepest possible expression. The use of the Una Corda, and the insertion of the Arioso Dolente into the Fugue, show what a struggle Beethoven underwent in the conquest of his feelings.
32nd Sonata, Opus 111, in C minor.
Maestoso—Allegro con brio—Arietta.
Although the designation Sonata persists with Beethoven right along throughout all his periods, yet in this last sonata we have left the first ones completely out of sight. The name must be taken merely in its general sense of a piece of high aims; or even in its literal sense, the Italian word meaning simply to play. This Sonata, which was dedicated to the Archduke Rudolph, is practically a Prelude and Fugue, with an Air and Variations. The introduction contains two themes, a leonine, stormy one and a singing phrase. The Fugue opens like a veritable thunder-storm. There are short phrases in the major which answer to the second subject, a brief snatch of two celestial bars, and the agitated atmosphere again unfolds itself. This second subject, which is a mere phrase, is repeated in the last portion of the Fugue in the tonic major, which brings the Fugue into line with the Sonata form proper. The beauty of the Coda has not been surpassed by Brahms in his sublimest moments.
After the storm, a calm. Beethoven concludes his world contribution of Sonatas with an air of celestial happiness, varied in the most lovely manner possible. "A voice from above," someone has called it. The variations lap round it tenderly like the waves caressing the sands on a beautiful calm day. The first variation gently stirs the rhythm of the theme. The second doubles the movement, and the third redoubles, and yet the peaceful calm is not disturbed. Into the Coda steals one of those beautiful pensive movements in the minor key. This emerges into the return of the theme, scintillating with heavenly radiance. Thus Beethoven closes his Sonatas in a heavenly peace.
- ↑ Beethoven could not endure the foreign word Qpianoforte.
The only other examples of Beethoven's use of the designation Scherso for a movement not in Scherzo and Trio form are in the pianoforte sonata Opus 31 No. 3, and in the string quartet in C minor.