Album insights
During the early 19th century, the genre of piano sonatas experienced a shift, as "characteristic" piano miniatures intended for domestic use began to overshadow it. Beethoven's three sets of Bagatelles, published as op. 33, op. 119, and op. 126, along with Schubert's Impromptus and Moments musicaux, became some of the most famous pieces of this kind. However, several other piano miniatures recorded here, essentially Bagatelles, were not published during the composer's lifetime.
One such piece, the tiny Andante in C major, WoO211, went unnoticed until its publication in 1975. It unfolds over a quasi-Baroque bassline and is characterized by a charming simplicity. Likely composed towards the end of Beethoven's time in Bonn or soon after moving to Vienna in November 1792, it reflects influences from his studies with Haydn and Albrechtsberger, before he embarked on his dual career as a composer and keyboard virtuoso.
Scholars have suggested that the Presto in C minor, WoO52, originally intended as a Scherzo for the C minor Sonata op. 10 No. 1. Marked by a percussive five-note figure, the outer sections drive forward with Beethoven's typical intensity, while the C major Trio, similar to that of the Bagatelle op. 33 No. 2, introduces thirds runs. Released together with the Presto in C minor in 1888, the Allegretto in C major, WoO56, was sketched immediately after the "Waldstein" Sonata towards the end of 1803, possibly planned as a Minuet and Trio for the sonata. Its outer parts process a gliding counterpoint that only hints at traces of a melody. In the Trio, these hints evolve into a discernible melody over a running bass line.
Possibly an omitted section from the Sonata op. 10 No. 1, the Allegretto in C minor, WoO53, exudes a reserved, melancholic charm. It anticipates both the poignant Allegretto of the E major Sonata op. 14 No. 1 and the middle movement of the "Moonlight" Sonata. The luminous major Trio begins as a canon and depicts tolling bells.
Beethoven's career as a composer and virtuoso was already overshadowed by significant hearing loss by 1801. Despite personal struggles, his creative output remained strong. In that year, he not only worked intensely on his Second Symphony but also composed four piano sonatas: op. 26 in A-flat major, the so-called Pastorale op. 28, and the two sonatas later released as op. 27 in 1802. The first in E-flat major stands as a relatively overlooked Beethoven gem, while the second in C-sharp minor received immediate critical acclaim and rivaled the popularity of the "Pathétique."
Beethoven labeled both op. 27 sonatas as "Sonata quasi una Fantasia," hinting at their unusual structure and deeply personal expressivity. These works prioritize emotion as much as formal perfection, embodying a sense of free improvisation. Notably, the Sonata in C-sharp minor, op. 27 No. 2, merges expressive extremes with an unconventional key, a path Beethoven would revisit only in his late String Quartet op. 131. Dedicated to Countess Giulietta Guicciardi, whom Beethoven ardently loved, the sonata possibly reflects his feelings of unattainability.
The obscured and twilight-like Adagio serves as the poignant opener, hinting at a mournful chant and funeral march. The nickname "Moonlight" endures, painting either a moonlit journey on Lake Lucerne or a Roman countryside sunset, as imagined by Berlioz. The piece's brilliance lies in its clear sonata form, featuring a central development and a radically reimagined recapitulation that elevates the intensity to a new level. Insistently played without dampers and delicately, the Adagio vexed Beethoven during his lifetime.
Following the Adagio, the graceful and somewhat melancholic C-sharp major Allegretto in D-flat major swiftly emerges, offering a poetic intermezzo. Its finale balances fervor with romantic longing, amplifying thematic reprises and lending a unified structure to the entire work. This energetic finale, a Presto agitato interlaced with moments of yearning, is permeated with stormy motifs, presenting Beethoven's unity of material across the work.
Beethoven's "Seven Bagatelles," op. 33, spanned a decade and were published in 1803 as he delved into the "Eroica." While these miniatures may seem like snippets from his workshop, they brim with nuances that defy predictability. Beethoven's intention to break from the norm is evident from the spirited E-flat major Bagatelle, where pastoral innocence is subtly threatened by forceful accents and cascading scales, offering unexpected twists. The explosive C major Bagatelle revels in anarchic irregular accents and dynamic contrasts, exuding a sense of Beethoven's improvisational flair.
In another twist, Beethoven surprises in the A major Bagatelle by crafting a delicate song without words, featuring a shifting melody between registers and a shadowy minor trio. The series showcases playful and daring mood shifts combined with technical challenges, highlighting Beethoven's innovative spirit and piano prowess.
In 1798-99, following the "Pathétique" Sonata, Beethoven composed two intimate piano sonatas for home use, published as op. 14 by the end of 1799. The G major Sonata, op. 14 No. 2, offers a contrast to the turbulent "Pathétique," presenting lyricism and humor in its finale. Beethoven playfully obscures the primary beat in the relaxed first movement, eventually unveiling the theme with heightened lyricism. The variation movement quaintly evokes a childlike march, leading to a bucolic and playful finale rich with rhythmic intricacies.
A pinnacle of Beethoven's Baroque homage is seen in the 32 Variations in C minor, WoO 80, which meticulously elaborates on the traditional Chaconne form. From rhythmically ambiguous transitions to virtuosic displays, Beethoven's variations explore a wide range of pianistic techniques with a keen harmonic foundation. The variations exhibit an evolving mix of expression and technique, showcasing Beethoven's innovative exploration of form and style.