Album insights
Most of Beethoven's early piano sonatas were commissioned by patrons, mainly from the Viennese nobility, and were only printed later. With the shift in music market laws replacing patronage, publishers started commissioning works, including Beethoven's last three piano sonatas, Op. 109, 110, and 111, thanks to Berlin publisher Adolf Schlesinger's initiative.
These sonatas were published individually instead of under a single Opus number, with the last two being printed in Paris where Schlesinger's son, Moritz, had a branch. The three pieces differ significantly from each other and from Beethoven's other piano sonatas, maintaining traditional traits. They are best appreciated when listened to as a cycle, with a balanced mix of major and minor tonalities.
Beethoven began work on Op. 109 in April 1820, originally composing its first movement for a different purpose. Due to financial needs, he agreed to compose the three sonatas for Schlesinger, ultimately negotiating a fee of 90 Ducats. After facing delays, the Sonata was completed in September and dedicated to Maximiliane Brentano. The first movement is unique in Beethoven's repertoire, featuring contrasting themes and tonal shifts.
Moving on to Op. 110, Beethoven initially planned to compose all three sonatas back-to-back but faced delays. The Sonata was finally completed in late 1821 and published without a planned dedication. The final movement of Op. 110 combines contrasting sections, including a fugue leading to a triumphant conclusion.
Before finalizing Op. 110, Beethoven swiftly started working on Op. 111, completing it shortly after Op. 110. The Sonata posed challenges to performers due to its technical demands. The two-movement structure of Op. 111 raised curiosity from the Schlesingers, but Beethoven had no plans for additional sonatas after this monumental work. The final movement stands as a majestic conclusion to Beethoven's sonata repertoire, embodying profound spirituality and a visionary outlook.