Stephanie Proot

The Sonata in F major is the shortest of the three sonatas published as op. 10 in 1798, since it is composed of only three movements. The fast first movement (Allegro) is, according to the conventions of that period, modeled as a sonata form movement. The second movement (Allegretto) shows the undeniable ABA-structure of a minuet with trio. Although the third movement (Presto) is also written in sonata form, the three fugue-like entries of the main theme initially suggest otherwise.  In the Two Piano Sonatas op. 27 (1801) he collides so forcefully with the boundaries of the genre, that he felt it necessary to give the sonatas the subtitle Sonata quasi una Fantasia. The term ‘fantasy' refers to the direct expression of more freely used stylistic and formal elements that Beethoven combined with the stricter patterns of the sonata tradition. In both sonatas Beethoven moves the centre of gravity of the sonata to the last movement by starting off with a slow movement and gradually building up the energetic intensity towards the fast and impetuous last movement. In addition, he wanted the piece to be performed without any interruption. The resulting singular unit is on the one hand supported by a particularly solid tonal coherence; all movements of the Sonata in C-sharp minor (op. 27/2) are based on the same keynote C#. On the other hand, the motivic coherence is guaranteed because of the dynamic last movement, which is based on ideas of the slower first movements. Although this establishes a very well-grounded musical continuity, very often - especially in the Sonata in E-flat major (op. 27/1) - it is challenged by contrasts in tempo, key, register, dynamics and texture that refer to the more spontaneous fantasy-style. Through its ultra-popular Adagio the Piano Sonata op. 27/2 is one of Beethoven's most renowned compositions. This movement gave the sonata the nickname ‘Moonlight'. Other than the writing of such suggestive music Beethoven himself had no hand in the existence of this link. The association is to be ascribed to the German musicologist Wilhelm von Lenz. He wrote in his Beethoven biography (1852-55) about a romantic image the poet Ludwig Rellstab envisioned while thinking of this sonata: a little boat, sailing underneath a moonlit sky through the untouched landscape of the Lake of Lucerne in Switzerland. The Piano Sonata in A-flat major op. 110 (1821-2) is the most lyrical of the four pieces on this CD. This is shown immediately in the melodious and expressive first movement (Moderato cantabile molto espressivo), of which the centre of gravity - just as that of the whole sonata - is situated at the end. This weight shift is caused mainly by postponing the most extreme modulations to the recapitulation, which was traditionally written entirely in the main tonality. The scherzo-like second movement (Allegro molto) is followed by a most remarkably designed last movement. Beethoven's longing for direct expression is translated in the use of instrumental recitative and arioso (Adagio ma non troppo - Recitativo - ...). Thereupon follows a supple fugue on a dolce theme. After repeating the recitative and arioso, Beethoven ends with a contrapuntal tour de force based on the inversion of the original fugue theme. This manipulation transforms the plaintive and delicate arioso into a swift and radiant ending.