The Piano Sonata No. 8 in C minor, Op. 13, commonly known as the "Pathétique," was published in 1799 by the publisher as the Grande Sonate Pathétique with Beethoven's approval. The composition was written in 1798 and dedicated to Prince Karl von Lichnowsky, a close patron of Beethoven.[4] A characteristic feature of the sonata is its impressive slow introduction, the motif of which is taken up again in the Allegro—a technique that was novel for Beethoven at the time and which he further developed in later works.[4]
The Allegro is distinguished by a striking, staccato main theme accompanied by a drum-roll-like bass. This section creates intense tension. In the second movement, an Adagio cantabile in A-flat major, a particularly rich soundscape unfolds. The key remains present even in the concluding Rondo, which is distinguished by an extended middle section in A-flat major.[4]
The Allegro is characterized by a striking, staccato main theme accompanied by a drum-roll-like bass. While the title "Pathétique" is often considered authentic, the nickname for the second sonata of Op. 27 originates with Ludwig Rellstab. The subtitle "quasi una Fantasia" for the Op. 27 sonatas emphasizes Beethoven's free treatment of sonata form.
In the so-called "Waldstein" Sonata, Op. 53, Beethoven explores the full sonic possibilities of the piano and extends its range into the octaves. This work is considered a heroic composition and is ranked among the most impressive works of his middle period.
The Sonatina Op. 79, presumably composed earlier, occupies a special place in Beethoven's oeuvre. It concludes with a clever rondo whose subtle restraint already foreshadows later works such as Op. 109.