Beethoven spent 1807 and 1808 writing three symphonies and a mass; chamber music wasn’t a high priority. That would change with this piece. With his Third Symphony, he had set the symphony free; with the “Kreutzer” Sonata, the violin; and now he would set the cello free.
It starts with a movement in sonata format marked “allegro ma non tanto,” “quickly, but don’t force it,” in 2/2 and A Major using 6-bar units, not the traditional 4- and 8-bar units of melody. The cello starts with a short passage that contains all the basic ideas of the sonata, and the piano joins to complete the phrase with a cute little cadenza. At the second statement, the cello gets the cute little cadenza. The transitional passage is in a passionate A minor, then E minor, leading into the second subject in E Major. The cello goes into its upper register for this theme. The piano turns majestic, and the cello follows. (This is one juicy passage!) The exposition repeats.
The development spends its time in the minor keys and is quiet and undramatic, except for a furious outburst in the middle.
Lou re-composes his recap, bringing the second subject back in the correct key of A Major.
The coda brings the first subject back in D Major, speeds it up for a grand restatement of the theme before he writes a magical passage for the right hand on the piano that winds it down for an ending that is almost introspective. And then he brings it to a proper conclusion.
Hi Publius!
(I LOVE the Cello, French Horn, and my electric bass. Something about those low notes really register with me! :-))
Good evening, Publius...enjoying Beethoven’s Cello Sonata. Thanks for sharing for the troops. ((HUGS))