Beethoven wrote three piano sonatas under opus no.2. This article will review the second of the three. In our in-depth analysis of Beethoven Piano Sonata no.2 not only you will read interesting facts, but also listen to key parts with the help of audio clips.
Beethoven Piano Sonata 2. (op.2) was published in 1796, premiered in Vienna. The four movement composition was dedicated to Haydn, just as his first sonata. In Piano Sonata no.2 influence of Haydn and Mozart is still evident, but it is already beyond what the two old masters could display previously in respect of harmony and drama.
All three piano sonatas Beethoven published under op.2 has different characteristics. The first sonata is dramatic, the second is more lyric, even playful, the third is a grand sonata, almost a concerto in itself with a cheerful mood.
Let’s start the in-depth analysis of Beethoven’s Piano Sonata no.2!
Movement I. – Allegro vivace (very lively)
The opening is like a playful introduction, almost has a comic feel. Listen to the exposition and first theme!
The second theme changes direction and starts to go up, rising. If a listener looks at graphical representation of this section, it shows a steep slope, one that hikers like to avoid.
The third phrase joins the elements of theme 1 and theme 2 and concludes in a closed cadence. The section is often regarded as one of the early examples of modulation executed in a masterly perfection.
Then comes a tricky section, where Beethoven specifically prescribed one hand fingering. On today’s pianos it is simply not possible to perform like this, as they have wider keys than in Beethoven’s time. This is a headache for many pianists who like to follow Beethoven’s instructions very closely.
Next is the development section. Lyrical, but very dramatic at the same time.
This is a complex and difficult part of the development section!
After the development section comes the recapitulation and the coda. Let us listen to the final seconds of this demanding first movement!
Movement II. – Largo Appassionata (very slowly and passionately)
The second movement is written in rondo form. Rondo form is a musical form in which the opening theme returns again and again – like a refrain. The theme has a special mood, as Wilfrid Mellers puts it “the first of those noble areas which…embrace the heart of Beethoven’s humanistically religious experience”. In more simple words, the movement has solemn, hymn like feeling.
This movement can be heard or imagined like a string quartet playing. Here, in the exposition we hear plucking as a base, like a slow march.
The music then goes from pianissimo to fortissimo. Step-by-step getting louder, but keeping the march like feel. At the end of this section the music rests again.
A contrasting episode is coming right before the end, very disturbing sounds, like church bells at a funeral, almost painful listening to.
Finally, the music comes to rest at the end, with a beautiful finale. Listen!
Movement III. – Scherzo and trio
Beethoven called his third movement of his Piano Sonata no.2 a scherzo. This expression comes from the Italian word scherzare (to joke), this form literally means I’m joking. A typical Beethoven scherzo is a three-part form, A-B-A and usually in triple meter. Important difference to traditional minuet dances is the speed, which is much faster with Beethoven.
Let’s listen to the opening of movement three, where in the exposition immediately we hear the small building block motive that will interweave the whole piece.
Although this movement is supposed to be cheerful and playful, there is an underlying tension, agitation still.
Movement IV. – Grazioso (gracefully), rondo form
This fourth movement of Beethoven’s Piano sonata no.2. is often referred to as the most Mozartean piano movement from Beethoven. If we consider the lightness, the balance, the graceful arch it has, we cannot disagree. Still, some parts are unmistakably Beethoven.
The exposition starts with a rising and rapid arpeggio. Listen to this wonderful exposition!
Beethoven, always the man of great contrast and dynamics, continues with a very different section. Contrary to the exposition’s grace, it is a scream from hell.
Now, let’s listen to how masterfully Beethoven returns to the beautiful melody we heard in the exposition! It is like driving through a dark and vicious storm right into a beautiful sunshine, to a field full with red poppy.
Finally, a very playful coda closes the fourth movement. Take a listen!
Conclusion
Beethoven’s Piano Sonata no.2 still carries the marks of the classical era, dominated by Haydn and Mozart, but the young Beethoven is already showing his true colors. Masterfully composed details, contrasting, dramatic episodes will follow each other, making this sonata truly wonderful.
