Piano Sonata No. 16 (Beethoven)
Ludwig van Beethoven's Piano Sonata No. 16 in G major, Op. 31 No. 1, was composed between 1801 and 1802. Although it was numbered as the first piece in the trio of piano sonatas which were published as Opus 31 in 1803, Beethoven actually finished it after the Op. 31 No. 2, the Tempest Sonata.
Due to his dissatisfaction with the 'classical' style of music, Beethoven pledged to 'take a new path' of musical composition and style. The Opus 31 works are the first examples of Beethoven's new innovative and unconventional ideas, an attempt to make a name for himself in the annals of music history. It is important to take into account that these pieces were written after the famous Heiligenstadt Testament of 1802.
In critical terms, this sonata is light, breezy and has touches of humour and irony amongst its movements. Critics say that the Opus 31 works show now a more pronounced 'Beethovenian' sense of style that will become more evident in later, mature works.
Structure
The sonata consists of three movements. A typical performance lasts about 20 minutes.
The first movement, Allegro vivace, begins in an animated fashion. Almost comical, the main theme is littered with brisk, semiquaver passages, and chords written in a stuttering fashion, suggesting that the hands are unable to play in unison with one another. Episodes suggest a more sensitive or romantic feeling, but overall, the piece is light, elegant and entertaining.
Rather unorthodoxly, the second subject in the exposition is in B major and minor (alternating between major and minor). This is one of the earlier manifestations of Beethoven's tendency, especially later in his career, to place the second subject of a major-key work in more remote keys, usually the mediant major or minor, for instance, (Symphony no. 7 in A major, op. 92 (movements 1 and 3); Sonata no. 21 in C major, op. 53 ("Waldstein") or submediant major (Piano Trio No. 7 in B-flat major, op. 97 ("Archduke"); Piano Sonata no. 29 in B-flat major, op. 106 ("Hammerklavier").
With long, drawn out trills and reflective pauses, the Adagio grazioso in C Major is the more sentimental movement. The heavy ornamentation almost suggests a grotesque parody, but the several graceful melodies in the piece saves it from merely being a joke.
The Rondo is similar in character to the first movement: light, enthusiastic, and youthful. This rondo is considered by critics to be one of the finest rondos to be written by Beethoven. Here, a single simple theme is varied, ornamented, syncopated, modulated throughout the piece. But Beethoven's creativity never makes us bore of it. All the ideas are fresh, inviting, and intriguing. Beethoven eventually pulls the movement into a brief adagio, but when it seems the piece has finished, a presto erupts, bringing this vibrant sonata to an ebullient conclusion.
External links
- [1] - More in-depth information of this sonata, with critical musical analysis and creation history.
- For a public domain recording of this sonata visit Musopen
- Free scores by Piano Sonata No. 16 at the International Music Score Library Project (IMSLP)