Berlin publisher Adolf Schlesinger. Unlike many of Beethoven's early piano sonatas, these were composed in Vienna at the behest of aristocratic patrons and only printed later, as the music market grew in importance.
The composer's last three sonatas, Opus 109, 110, and 111, were written at the initiative of the Berlin publisher Adolf Schlesinger. Unlike earlier trios, these works were published independently, with the last two being published in Paris by Schlesinger's son, Moritz. They exhibit a varied combination of major and minor keys and differ significantly in their structure from each other and from other Beethoven sonatas. Beethoven had already begun Opus 109 before Schlesinger asked him for new compositions; he originally wrote the first movement for his friend Friedrich Starke but changed his mind and incorporated it into a sonata for Schlesinger. It was published in 1821 with a dedication to Maximiliane Brentano. The first movement, a technically demanding exercise, is characterized by diverse themes and tempi, while the finale features variations that are both subtle and impressive. The A-flat major Sonata, Opus 110, was composed after an intensive period of work on the Missa solemnis; Beethoven revised the complex third movement several times before completing it in August 1821. The finale includes recitatives, a fugue, and a powerful concluding section, demonstrating Beethoven's mastery of dynamic contrasts. Opus 111 was composed almost simultaneously with Opus 110 and places high technical demands on the performer. The first movement begins dramatically and leads into a passionate Allegro, while the second movement, the "Arietta," varies the theme in different meters. The sonata concludes with an expressive coda, bringing Beethoven's sonata output to a close. Schlesinger unsuccessfully requested an additional final movement, but Beethoven declined further compositions.
Opus 111 was composed almost simultaneously with Opus 110 and places high technical demands on the performer.