One does not typically associate the music of Ludwig van Beethoven with liturgy, yet arguably his greatest personal statement was the great Missa solemnis, a work that some consider to be the lesser known brother to the Ninth Symphony.Beethoven was very troubled writing this epic Mass, taking over four years to complete it.During its composition, Beethoven was simultaneously writing what would become his final piano pieces (Op. 109, 110 and 111), including this sonata.His final works bear the imprint of Beethoven’s personal, almost religious, struggles during the composition of the Mass, reflected in a new introspective and less systematic style.
The language of Beethoven’s Late Period is that of an unprecedented compressed density—gone is the sprawling, heroic grandeur of the Middle Period. This sonata has an undeniably fantastic quality to it, freely floating between ideas and giving the impression of a singular journey. Beethoven highlights different points on the music itself with descriptions like, con amabilità [with sweetness], ermattet, klagend [tired, mournful], nach und nach wieder auflebend [gradually reviving].These snippets provide valuable insight into Beethoven’s condition at the time, forming the basis for an incredible journey through his deepest emotions: from utter defeat to glorious redemption. Daniel Hsu
Piano Sonata No. 31 in A-flat Major, Op. 110 Ludwig van Beethoven
The Piano Sonata No. 31 was composed in 1821. It is the middle sonata of a group of three that form Beethoven’s last compositions for the piano, with the exception of the Diabelli Variations. These last three sonatas were commissioned by the music publisher Schlesinger. Beethoven undertook the first sonata, op. 109, in 1820 and promised to deliver all three compositions within three months. The op. 109 was delivered that same year but the other two were delayed due to illness and other factors.
The first movement, though described as “Haydnesque” due to its orderly sonata form, replaces the usual dramatic, powerful opening movement with one filled instead with subdued contemplations. The movement is marked Moderato cantabile molto espressivo, a marking more customary for a slow movement than an opening sonata form. The key of this sonata is also A flat major. Beethoven, having received an air in the key of A flat marked amoroso, remarked that the key of A flat should be marked barbaresco and he accordingly changed the key signature. Despite this, some of Beethoven’s most famous music is in the key of A flat, such as the slow movements of both the Fifth Symphony and the Pathétique Sonata.
The middle movement, a scherzo in F minor, comes as a startling contrast to the first movement. In comparison, this scherzo seems rigid and terse compared to the lyricism of the first movement. Though seemingly simple on the surface, subtle syncopations and rhythmic ambiguities abound throughout the movement. It ends quietly in F major, preparing the way for the fugal finale.
The final movement represents another of Beethoven’s great explorations into the fugal form. In works like the Hammerklavier Sonata and the Grosse Fuge he combined the fugue with other traditional forms such as sonata and variation form. The concluding fugue of this sonata, on the other hand, is unique in its own way. The movement begins with a recitative which forms an effective bridge from the scherzo. This then leads into the arioso dolente, a lamentation in the parallel minor of the tonic key. After the arioso dies away, the three-voice fugue begins in the key of A flat major. The subject is constructed around a series of rising fourths and is foreshadowed in the opening of the first movement. The fugue comes to a halt on the dominant seventh of A flat major before slipping into the foreign key of G minor and a varied reprise of the arioso. The fugue resumes, however this time it is in inversion. The final fugue builds in intensity and brings the work to a triumphant close. Joseph DuBose
Classical Music | Piano Music
Ludwig van Beethoven
Sonata No. 31 in A-flat major, Op. 110 Play
Recorded on 01/25/2017, uploaded on 06/03/2017
Musician's or Publisher's Notes
One does not typically associate the music of Ludwig van Beethoven with liturgy, yet arguably his greatest personal statement was the great Missa solemnis, a work that some consider to be the lesser known brother to the Ninth Symphony. Beethoven was very troubled writing this epic Mass, taking over four years to complete it. During its composition, Beethoven was simultaneously writing what would become his final piano pieces (Op. 109, 110 and 111), including this sonata. His final works bear the imprint of Beethoven’s personal, almost religious, struggles during the composition of the Mass, reflected in a new introspective and less systematic style.
The language of Beethoven’s Late Period is that of an unprecedented compressed density—gone is the sprawling, heroic grandeur of the Middle Period. This sonata has an undeniably fantastic quality to it, freely floating between ideas and giving the impression of a singular journey. Beethoven highlights different points on the music itself with descriptions like, con amabilità [with sweetness], ermattet, klagend [tired, mournful], nach und nach wieder auflebend [gradually reviving]. These snippets provide valuable insight into Beethoven’s condition at the time, forming the basis for an incredible journey through his deepest emotions: from utter defeat to glorious redemption. Daniel Hsu
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Piano Sonata No. 31 in A-flat Major, Op. 110 Ludwig van Beethoven
The Piano Sonata No. 31 was composed in 1821. It is the middle sonata of a group of three that form Beethoven’s last compositions for the piano, with the exception of the Diabelli Variations. These last three sonatas were commissioned by the music publisher Schlesinger. Beethoven undertook the first sonata, op. 109, in 1820 and promised to deliver all three compositions within three months. The op. 109 was delivered that same year but the other two were delayed due to illness and other factors.
The first movement, though described as “Haydnesque” due to its orderly sonata form, replaces the usual dramatic, powerful opening movement with one filled instead with subdued contemplations. The movement is marked Moderato cantabile molto espressivo, a marking more customary for a slow movement than an opening sonata form. The key of this sonata is also A flat major. Beethoven, having received an air in the key of A flat marked amoroso, remarked that the key of A flat should be marked barbaresco and he accordingly changed the key signature. Despite this, some of Beethoven’s most famous music is in the key of A flat, such as the slow movements of both the Fifth Symphony and the Pathétique Sonata.
The middle movement, a scherzo in F minor, comes as a startling contrast to the first movement. In comparison, this scherzo seems rigid and terse compared to the lyricism of the first movement. Though seemingly simple on the surface, subtle syncopations and rhythmic ambiguities abound throughout the movement. It ends quietly in F major, preparing the way for the fugal finale.
The final movement represents another of Beethoven’s great explorations into the fugal form. In works like the Hammerklavier Sonata and the Grosse Fuge he combined the fugue with other traditional forms such as sonata and variation form. The concluding fugue of this sonata, on the other hand, is unique in its own way. The movement begins with a recitative which forms an effective bridge from the scherzo. This then leads into the arioso dolente, a lamentation in the parallel minor of the tonic key. After the arioso dies away, the three-voice fugue begins in the key of A flat major. The subject is constructed around a series of rising fourths and is foreshadowed in the opening of the first movement. The fugue comes to a halt on the dominant seventh of A flat major before slipping into the foreign key of G minor and a varied reprise of the arioso. The fugue resumes, however this time it is in inversion. The final fugue builds in intensity and brings the work to a triumphant close. Joseph DuBose
More music by Ludwig van Beethoven
Bagatelle N° 25 "Für Elise"
Piano Concerto No 2 in B-flat Major, Op. 19, Third Movement (Rondo: Allegro molto)
Sonata No. 32 in c minor, Op. 111
Piano Sonata No. 28 in A Major, Op. 101
Sonata No. 32 in c minor, Op. 111
Fantasie in g minor, Op. 77
33 Variations on a Waltz by Anton Diabelli, Op. 120
String Quartet No. 11 in f minor, Op. 95, Serioso
String Quartet Op. 131
Sonata for cello and piano in g minor, Op 5, No. 2
Performances by same musician(s)
Chaconne from Partita in d minor, BWM 1004
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