Beethoven returned to the cello sonata one more time in 1815 producing a set of two sonatas that were published the following year as op. 69: I. Allegro, ma non tanto. The opening theme of this sonata-form movement is derived from the first movement’s opening theme. 69", https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.555786&catNum=555786&filetype=About%20this%20Recording&language=German, https://www.swr.de/swr2/musik-klassik/musikstueck-der-woche/article-swr-15760.html, https://en.wikipedia.org/w/index.php?title=Cello_Sonata_No._3_(Beethoven)&oldid=970511368, Creative Commons Attribution-ShareAlike License, This page was last edited on 31 July 2020, at 18:38. 102; Hence, in the beginning of 1796 he composes the Sonatas for cello and piano, op. The second theme, by contrast, is a serene 10 notes (the first four on the same pitch) that exude a lyrical sense of repose, a repose not long held in this generally turbulent movement. Sign up to get free in-depth coverage on up and coming artist and more! Robert Schumann What most distinguishes this late sonata from those earlier “cello-like” works, however, is a new tendency towards increased chromaticism in the melodic line. Nonetheless, Beethoven’s last movement takes off with a merry twinkle in its eye and a bustling accompaniment of steady 8th notes in the piano to keep every toe in the hall tapping in time. The development gives greater emphasis to the first theme. In Schumann’s Five Pieces in Popular Style (1849), his only work for cello and piano, the “popular” style of these pieces is evident in their simple A-B-A formal structure, their strongly profiled melodies, and their frequent use of drone tones in the bass. 6, Op. Rather, he had a productive period composing music specifically designed for the home market: Hausmusik. 3) on my plate. Ludwig van Beethoven Its heavy peasant swing conveys something of the soldier’s alcoholic swagger, or perhaps even stagger, but offers glimpses of his tipsy charm, as well. International Music Score Library Project, "Sonata for Cello and Piano No.  It was first performed in March 1809 by cellist Nikolaus Kraft and pianist Dorothea von Ertmann, and dedicated to Baron Ignaz von Gleichenstein, who was a cellist himself. 3 in A, Op. The opening theme of his first movement, for example, presented in the solo cello in the manner of a fugue subject, is symmetrically balanced around its opening note, the home note of A major. The rondo finale reprises the martial inflections of the opening movement, but its dotted rhythms are now enlivened with a triplet energy reminiscent of the tarantella. Serious confrontation and drama occur only in the recapitulation, which draws much more vehemence from its material than the opening had done. 68, “The Pastoral.” It may have been written with his “immortal beloved” in mind, since the dedication is to one of the suspected “beloved’s” brothers-in-law. The work contains three movements, with an 18-bar slow introduction before the third movement: The first movement opens with an expansive melody with cello, as follows: The piano then plays a cadenza-like flourish, which leads into a repetition of the opening theme, this time played in octaves by the piano. 2. 46; Variations, Op. 2, op. 64, Beethoven: Sonata for fortepiano and cello, Beethoven: The Complete Sonatas for Cello and Piano; Schubert: 6 Moments Musicaux, Ludwig van Beethoven: Sonatas for Cello & Piano Nos. The 2nd movement scherzo is much lighter in texture and midway in mood between Mendelssohnian scamper and Brahmsian heft. 5, 69, 102; Variations WoO 45, 46, Op. 69 was the first he had written since his Op. 163; Beethoven: Variations, Op. Classical Romantic, Beethoven: Complete Works for Piano & Cello, Beethoven: Complete Works for Piano and Violoncello, Beethoven: The Complete Works [Warner Classics], Beethoven: Complete Works for Cello & Piano, Ludwig van Beethoven: Complete Sonatas for Violoncello and Piano, Beethoven: Les Sonates pour Violoncelle et Piano, Beethoven: Sonatas Opp. The sonata was composed in the same year as the Piano Trios Op. 5, No. I would like to learn more about this piece. More lyrical material occupies the middle section, notable for the high register used in the cello and the double-stop writing in 6ths. While this richly melodic work does not immediately strike the listener as doleful, there is some melancholy behind its reflective lyricism. 1, Schubert: Quintet, Op. 11 are contained within a space of 9, 13 and 10 bars, respectively, and they take less than two minutes to perform. 7: Special Commerative Issue, Beethoven: Complete Music for Cello & Piano, Beethoven: Complete Music for Cello and Piano, Beethoven: Complete Works for Cello and Fortepiano, Beethoven: Das Gesamtwerk für Klavier und Violoncello, Beethoven: Sonatas and Variations for Cello & Piano, Beethoven & Schumann: The Works for Violoncello and Piano, Beethoven: Cello Sonatas 1 & 3; Variations, Beethoven: Complete Works for Cello and Fortepiano, Vol. An Analysis of Beethoven s Sonata for Cello and Piano in A major, Op. The Late Cello Sonatas, Op. 69 & 102; Variations, Beethoven: The Complete Music for Cello & Piano, Beethoven: Complete Works for Piano and Cello, Beethoven: Sonatas for Fortepiano and Cello, Op. Customize your own series and save 15% on single ticket prices. Chopin’s sense of harmonic momentum is dizzyingly paced, especially in the first and last movements of this sonata. 3, op. This is warm home life distilled into sound. 69, was written in 1808-09, just following his Symphony no. But one characteristic that might well be perceivable right away is how the piano and cello, like an old married couple, seem to complete each other’s musical thoughts. 69 & 102; "Bei Männern" Variations, Beethoven: Sonatas for Cello & Piano; Variations, WoO. Five years ago, Professor Arnone helped introduced me to this piece and provided great insight. 2014 Preview SONG TIME Piano and Cello Sonata No. Its widely spaced, nocturne- like piano accompaniment of eighth notes evokes a sense of calm that makes it the emotional pivot around which the whole sonata revolves. 1, op. 2 - No. 1 Beethoven’s Sonata for Cello and Piano, Op. This is music of meticulous craftsmanship, music under a magnifying glass, in which seemingly small gestures take on great significance. 1-5, Beethoven: The Complete Sonatas for Cello & Piano; Schubert: 6 Moments Musicaux, Jacqueline Du Pré: The Complete Recordings [Box Set], Pnina Salzman, Vol. Catching the essence of music this fleeting requires concentrated listening. Simply bursting with good humour and bonhomie, this movement manages to be both cute and coy by turns while constantly radiating a sunniness of disposition that even the mock-worry of its development section cannot efface. The 1st movement’s opening theme might be described as a songful march, lyrical but inflected with pert dotted rhythms that add a slightly martial air to the melody’s unfolding. 1: Beethoven, Schubert: Arpeggione Sonata; Beethoven: Cello Sonata No. 66, GAIA Music Festival 2016: Music of Beethoven, Mussorgsky, Popper & Stravinsky, Beethoven: Complete Sonatas & Variations for Cello & Piano, Beethoven: Sonatas & Variations for Cello & Piano, Dvořák, Saint-Saëns: Cello Concertos; Tchaikovsky: Rococo Variations; Beethoven, Brahms: Cello Sonatas, A Gramophone Tribute to Erling Blondal Bengtsson, Beethoven: Sonates pour Piano & Violoncelle, The Complete Recordings on Deutsche Grammophon, Beethoven: Complete Works for Violoncello & Piano, Beethoven: The 5 Sonatas for Piano and Cello, Beethoven: Piano Trios; Violin & Cello Sonatas, Beethoven: Sonatas, Vol. A bridge passage follows, leading to a second theme, which is also repeated.