Album insights
In the salons of Viennese society where Beethoven had to assert himself, piano virtuosos were expected to impress with improvisations. Artists like Gelinek, Wölffl, and Steibelt, the latter accompanied by his wife on the tambourine, shone with their runs, tremolos, and trills, prompting Beethoven to mischievously inquire when one of them planned to start.
Beethoven never faced such issues himself. His beginnings were always outstanding. The Piano Sonata in A Major, Op. 2 No. 2, is a typical example. Composed in 1795, just after Beethoven completed his counterpoint studies with Albrechtsberger, this piece opens vivaciously in piano and unison octaves, soon developing into a beautiful contrapuntal theme. While the sonata may evoke thoughts of Haydn (whom Beethoven dedicated it to), its strong dynamic contrasts, lyrical second theme, virtuosic passages brimming with energy, and dramatic tonal shifts all reveal the unmistakable traits of young Beethoven. The second repeat of this sonata, as some pianists suggest, may not be too convincing.
The charming Wiener style is vital for interpreting the final movement of this lovely sonata. The Grazioso tempo indication might mislead—it's not about rushing through but rather delicately rendering the piece. As Tovey suggested, the middle section's Triplet "hailstorm" presents an opportunity for virtuosic display. The gradual elaboration of the Rondo theme adds depth, leading to a poignant version before the sonata's gentle conclusion—an aspect that may contribute to its underrated performance frequency.
Sketches for Beethoven's Piano Sonata in C Minor, Op. 10 No. 1, initially proposed a four-movement structure, yet the composer omitted ideas for a Scherzo or Minuet. The first two movements were created before his concert tour to Prague, Dresden, and Berlin in early 1796. Published in 1798 with the other Opus 10 sonatas, this piece offers a vibrant musical journey.
The renowned "Appassionata," Op. 57, emerged in 1805, followed four years later by the Piano Sonata in F-sharp Major, Op. 78. This period between the two sonatas was marked by intense creativity despite Beethoven's worsening deafness and emotional struggles during Vienna's French occupation in 1809.
The F-sharp Major Sonata, Op. 78, distinct from the "Appassionata," exudes precision and simplicity, with its beautiful four-bar introduction standing out. Dedicated to Countess Therese von Brunsvik, possibly an inspiration for the "Immortal Beloved" figure in Beethoven's life, this work held personal significance for the composer.
Beethoven's Piano Sonata in A-flat Major, Op. 110, crafted in 1821, radiates tenderness and intimacy through its expressive markings and choice of key. The second movement, in particular, showcases Beethoven's humor, weaving quotes from popular Viennese songs into a scherzo-like composition. Ending with a poignant Arioso dolente and a disciplined fugue, this sonata demands both technical precision and emotional depth from performers.
Beethoven's intent to dedicate Op. 110 to Antonie Brentano, believed by some to be his "Immortal Beloved," was hindered by a delayed letter to the publisher, leaving the sonata ultimately undedicated. The emotional depth of this work reflects Beethoven's inner struggles and artistic journey.