The comparison between these two works is stark. The No. 1 is a very rhythmical work, with the first movement bright in sonata form, followed by a slow second movement before the tempo picks up in the final two movements. To me this work is typical of the classical period and similar to the works of Haydn and Mozart.
The No. 32 is a very different work. From the start it is clearly more advanced. Written in two long movements, that total twice the time of No. 1, this work develops very slowly, especially during the long, slow second movement. I like both works, and they both have their charm. But it is clear from listening to these two works which came first and which came second.
The No. 1 Sonata has many features that are identifiable with the classical period. The opening movement is in typical sonata form, where the opening theme is established developed and then recapitulated. This is not really so evident in No. 32. The steady rhythmic nature of No. 1 is another feature of the classical period as is the basis of the home key.
The No. 32 does retain some aspects of the classical period in that it stays within the remit of tradition scales. It does not strictly follow the sonata format but it is still there in a more advanced form.
I think the far more expressive feel of the later sonata identifies it as a work of the romantic period. There is far more connection with the human voice than in the earlier work. You feel that the No. 32 has much more feeling to it, that part of Beethoven’s conscience is in the work. Perhaps the loneliness and despair at his deafness is reflected in the mournfulness of the second movement. The whole feel of the piece is far more akin to what we now recognise as a romantic work.
Beethoven in 1801 painting by Carl Traugott Riedel
Beethoven in 1820, painting by Karl Steiler
In researching the two works, I started first with the background of Beethoven’s career at the respective times of composition.
Beethoven moved to Vienna, for a second time, whilst still in the employee of the Elector of Bonn in 1792, to study under the best known composer of the day, Franz Joseph Haydn (1732-1809). He was not under Haydn, for long however, as Haydn departed for his second trip to London and left Beethoven in the hands of Johann Georg Albrechtsberger (1736-1809) and Antonio Salieri (1750-1825). Beethoven would later say he had learnt nothing from Haydn. Beethoven was trying to make it as both a composer and a pianist, and some of the Vienna courts did know of his reputation from visits to Bonn. There were no public concerts, apart from the occasional charity or subscription concert, at this time in Vienna and musicians needed the support of patrons. One of the most important for Beethoven would be Prince Litchnowsky (1761-1814). The Elector of Bonn had stopped sending money in 1794, as he was not satisfied with Beethoven’s progress.
In August 1795 Artaria published the first works by Beethoven since his move to Vienna, with the Opus 1 set of three trios. This was a subscribed publication, with 123 subscribers and 241 copies sold, making the young composer a healthy profit. Haydn returned from London shortly after these were published and spoke of misgivings about the third of these trios, further souring relations.
In Correspondence to a friend in Bonn, Eleonore von Breuning, Beethoven spoke of work on a Sonata in sketch form as long ago as June 1794 (Thayer, 1964), although it is not clear if this was one of the opus two sonatas. Before the publication, the sonatas were played in one of Prince Lichnowky’s Friday lunchtime recitals, with Haydn in attendance. Despite the misgivings between the two composers, the Opus 2 sonatas that were published in March 1796 were dedicated to Haydn, although Beethoven fell short of having the publication inscribed with pupil of Haydn as was custom at the time.
Whilst most musicologists who, have written on the work would agree that it is a work in the classical tradition, there are some that would say that from the start, Beethoven made it clear that he wanted a new sound, that was not the same as that of Haydn or Mozart. The slow movement especially expresses Beethoven’s skill with slow movements, and his ability to add harmonic qualities to a slow movement. In summary, whilst the first movement sonata form is most definitely typical of the classical period, there are already signs in some parts, the adagio especially, of the expressive nature to Beethoven’s work that would later emerge.
By the time Beethoven wrote his final sonata, he was is a prolific period of productivity, and a well established composer in Vienna. He had started work on the mass and what would become the ninth symphony. Although by now a very successful and respected composer, Beethoven was beset by financial difficulties and ill health, and in a legal battle with his brothers widow, over the guardianship of his nephew Karl.
Perhaps the conflicts in the Piano Sonata No. 32 are a reflection of the turmoil of his private life. The two movements conflict with each other, but all the conflicts are resolved. Although there are many differences between the movements, the main conflict is in the home key, the c minor first movement with C major in the second. Most sources agree that with this sonata, Beethoven had reached the pinnacle of this musical form, which is perhaps why a third movement was not written. His publisher, Schlesinger wrote to Beethoven, believing the third movement to be missing and asking if it had got lost in the post. There is some suggestion that an allegro was planned for the third movement but remained in just sketch form only (Pizzaro, 2005).
Another contrast between the two movements, as pointed out by András Schiff in a lecture he gave in 2005, is the form they took. The first movement being in a more traditional sonata form with theme, development, exposition and recapitulation, whilst the second movement takes the form of a set of variations, which change throughout and include a passage which some describe a boogie-woogie piano, which was popular in twentieth century jazz. Schiff however dismisses this description as being too frivolous (Schiff, 2005).
The differences between the first sonata and the last are best described by Robert Taub, who describes opus two as “Epitomizing the classical tradition”, whilst the opus 111 he describes as “Summation, transcendence” (Taub, 2004).
References & bibliography
Anon. (2008). Beethoven: Piano Sonata Op 2 No 1. [online]. The Omniscient Mussel. Available from: http://theomniscientmussel.com/2008/06/beethoven-piano-sonata-notes-op-2-no-1/ [Accessed on January 13th 2013].
Anon. (2005). Beethoven Sonata No. 1 in F minor, op. 1, no. 1, First Movement. [online] DePauw Universit School of Music. Available from: http://depauwform.blogspot.co.uk/2005/04/beethoven-sonata-no-1-in-f-minor-op2.html [Accessed on January 13th 2013]
Beethoven, L. (n.d.). Piano Sonata No. 1 in F minor, op. 2, no. 1. [score][online]. Stuttgart. Eduard Hallberger. Available from: http://imslp.org/wiki/Piano_Sonata_No.1,_Op.2_No.1_(Beethoven,_Ludwig_van) [Accessed on January 13th & 30th 2013 ].
Beethoven, L. (1916). Piano Sonata No. 32 in C minor, op. 111. [Score][online]. Vienna. Universal Edition. Available from: http://javanese.imslp.info/files/imglnks/usimg/0/07/IMSLP00032-Beethoven__L.v._-_Piano_Sonata_32.pdf [Accessed on January 30th 2013]
Kerman, J., Tyson A., & Burnham, S.G. (2013). Beethoven, Ludwig van 1792-95. [online]. Grove Music online. Oxford Music online. Oxford University Press. Available from: http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026 [Accessed on January 13th 2013]
Kerman, J., Tyson A., & Burnham, S.G. (2013). Beethoven, Ludwig van 1822-24. [online]. Grove Music online. Oxford Music online. Oxford University Press. Available from: http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026 [Accessed on January 30th 2013]
Pizarro, A. (2005). The Beethoven Sonata Cycle: Piano Sonata No. 1 in F minor, Op. 2, No. 1. [online]. BBC Radio 3. Available from: http://www.bbc.co.uk/radio3/classical/pizarro/sonata1.shtml [accessed on January 13th 2013].
Pizzarro, A. (2005). The Beethoven Sonata Cycle: Piano Sonata No 32 in C minor, op. 111. [online]. BBC Radio. Available from: http://www.bbc.co.uk/radio3/classical/pizarro/sonata32.shtml [accessed on February 2nd 2013].
Riedel, C.T. (1801). Beethoven. [painting][online image]. Available from: http://www.bach-cantatas.com/Lib/Beethoven.htm [Accessed om January 13th 2013].
Sadie, S., Latham, A. (Ed.)(1985). The Cambridge Music Guide. Cambridge. Cambridge University Press.
Schiff, A. (2006). András Schiff Lecture. [online audio]. The Guardian. Available from: http://audio.theguardian.tv/sys-audio/Arts/Culture/2006/12/20/03-32cminop111.mp3 [Accessed on February 2nd 2013].
Steiler, K. (1820). Beethoven. [painting][online image]. Available from: http://www.bach-cantatas.com/Lib/Beethoven.htm [Accessed om January 13th 2013].
Taub, R. (2004). Robert Taub on the Beethoven Sonatas. [online]. Vox Music Group. Available from: http://web.archive.org/web/20041014030811/http:/www.voxcd.com/taub_beethoven.html [Accessed on February 2nd 2013].
Thayer, A. (1964). Life of Beethoven. Princeton (USA). Princeton University Press. Folio Society Edition (2001).