Beethoven's compositions for cello and piano encompass his entire creative career, with each of his three stylistic phases represented by a sonata or a pair of sonatas. It is said that with these significant works, Beethoven created a new form of instrumental music. While works for cello and keyboard instruments by Anton Kraft existed before Beethoven's Opus 5, the piano accompanied these instruments in a more Baroque style, unlike Beethoven's fundamental conception. At the time of the composition of the sonatas in Opus 5 and 69, the piano did not yet possess the sonic power of modern instruments. Beethoven therefore had to forgo certain cello playing techniques and was concerned that the piano might be overpowered.
The F major Sonata, Opus 5, No. 1, consists of only two substantial movements. The first movement begins with an almost independent Adagio sostenuto, which gradually reveals the F major triad in the Allegro. An extended transition with upbeats leads to a second thematic group on the dominant, followed by a comprehensive development section. The recapitulation confirms the introductory section, while the coda is extended by an adagio passage, and a short presto section concludes the work in the key of F major. The second movement is a rondo in 6/8 time, emphasizing rhythmic shifts between the instruments.
The G minor Sonata was part of an amusing incident in 1799. Beethoven was so impressed by Dragonetti's playing that he eagerly joined in while listening to the second sonata of Opus 5. This sonata begins with an expressive fantasia and demonstrates Beethoven's predilection for diverse material within a single movement. The finale is a rondo with lively rhythmic structures and rapid figurations.
The Sonata of Opus 69 was completed in 1807 and finished in Heiligenstadt in the spring of 1808. It was dedicated to Count Ignaz von Gleichenstein. Beethoven's life in Vienna was disrupted in 1809 by the French invasion. The third sonata in A major reflects Beethoven's self-assured mood and lyrical character.
The sonatas of Opus 102 were composed in 1815 and belong to Beethoven's "late creative period." Beethoven found inspiration for these compositions in his friend, the cellist Josef Linke. The C major sonata omits a slow movement, instead emphasizing two slow preludes. The D major sonata opens up new possibilities for cello composition.
The sets of variations on themes from Handel's Judas Maccabaeus and Mozart's "Ein Mädchen oder Weibchen" convey Beethoven's formal approach. The Mozart variations demonstrate a more flexible instrumentation and explore various structures. The variations offer insight into Beethoven's admiration for Bach, Handel, and Mozart.
The second set of Mozart Variations was composed in 1801. Beethoven was likely inspired by Schikaneder's production of The Magic Flute. Beethoven's Variations on the duet "Bei Männern, welche Liebe fühlen" and the Handel Variations reflect his appreciation for the masters Bach, Handel, and Mozart.