Classical Music | Music for Fortepiano

Recorded on 10/21/1991, uploaded on 03/21/2011

Musician's or Publisher's Notes

When Beethoven left his native Bonn, he directed himself toward Vienna, the music capital of the Austrian Empire and home of Mozart and Haydn. He initially planned to study with Mozart, whom he had met earlier, but by the time of his arrival in Vienna in 1792, the Mozart had already tragically passed away. He thus turned to Haydn, a man whom Beethoven at times criticized and at others greatly praised, for instruction in the art of composition. On one particular occasion in which Beethoven asked his teacher for criticism of both his work and himself, Haydn replied, “You make upon me the impression of a man who has several heads, several hearts and several souls.” Indeed, though Beethoven’s early efforts in composition show a strong connection to the Mozart-Haydn tradition, there is nevertheless the unmistakable mark of a profound intellect waiting for the proper moment to break free of its constraints and prosper in its vast abilities. By the close of the decade, Beethoven’s style was maturing. Compositions such as the famous Pathétique Sonata displayed his willingness, perhaps even need, to modify the expected conventions of his time to contain the wealth of his mind and soul.

Though forced to live in the shadow of its celebrated predecessor, the Piano Sonata No. 9 in E major, composed in the same year, is no less a telling work in the continuing growth of the composer. Cast in the usual three movement pattern of the Classical period, the first movement opens with an expectant, yet simple, tune in E major accompanied by chords in the left hand that set the momentum of the piece. The contrasting second theme, in the dominant key, is more lyrical, yet in true Beethovenian manner introduces an added sense of drama, which is further taken up as the development section begins. Relatively brief, the development leads into a vigorous and triumphal return of the first theme. Both themes are, of course, presented again in the recapitulation and the movement closes quietly with a final statement of the first theme.

In place of the usual slow middle movement, Beethoven instead introduces a casual scherzo-like movement at an Allegretto tempo. Changing to the relative minor, the opening melody of the ternary movement is unhurried in its pace and possesses a stern resolve. Despite its severe mien, the opening section closes back in the major mode and leads into a gentler trio in C major.

Lively and returning to the joyful mood of the first movement, the finale opens with a charming tune over a rapid accompaniment of broken chords in triplet rhythm. The triplets, alongside contrasting sixteenth notes, serve as a sort of moto perpetuo, providing an endless source of energy for the music. Only before an ingenious transformation of the principal melody does the energy seem to wane, but this is only necessary to give an added spark to the melody’s final statement before the sonata’s close.     Joseph DuBose