In the Viennese salons, where Beethoven had to assert himself, piano virtuosos were expected to shine through their improvisational skills. His rivals, such as Gelinek, Wölffl, and Steibelt (the latter accompanied by his wife on tambourine), impressed with flowing runs, tremolos, and trills. Beethoven's playful question to one of these rivals, when he would begin to play, was therefore particularly piquant.[1][5] Beethoven himself never experienced such difficulties. His early compositions were consistently outstanding. The Piano Sonata in A major, Op. 2 No. 2, which he completed in 1795 after finishing his counterpoint studies with Albrechtsberger, illustrates this. The Allegro vivace begins with lively unison octaves, yet has a cheerful character and develops a wonderful counterpoint from the ninth bar onward. Although composed for Haydn and with echoes of his style, it unmistakably bears Beethoven's signature. The second movement, Largo appassionato, captivates with its simple elegance. The warm interplay between chords and the pizzicato in the bass demands a serene, almost emotionless interpretation. The Scherzo in the Allegretto proves challenging, while the dramatic Trio requires careful da capo repetitions. The final movement ends charmingly with a touch of Viennese flair, requiring the ornaments to be performed with particular finesse. The C minor Sonata, Op. 10 No. 1, originated from a four-movement concept, from which Beethoven removed ideas for a Scherzo or Minuet. The first movement, Allegro molto e con brio, demands both dexterity in fast passages and expressive lyricism—a richly detailed masterpiece with the highest pianistic demands. The F-sharp major Sonata, Op. 78, is precise, simple, and yet extraordinary. Beethoven's composition in this unusual key demonstrates his ingenious contrapuntal playing with elements that already hint at his later style. The short, concise movement is technically challenging yet humorous, with subtle hints of Mozart. The A-flat major Sonata, Op. 110, from 1821, captivates with its delicate intimacy and impressive sequences of passages that underscore Beethoven's profound expression and lyrical talent. From the outset, it leads into emotional soundscapes, combined with masterful fugal themes that fully reveal Beethoven's genius.[2][3] Beethoven composed this profound sonata for Antonie Brentano, who may have been his "Immortal Beloved," but left the work without a dedication. Nevertheless, the composition remains a testament to the close connection between the composer and his muse.
