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SONATA in A-Flat major Op. 26 'Funeral March'

The 12th sonata in A flat major, opus 26 (1801) marks, together with the sonatas opus 27 no 1 and 2 and opus 28 (Pastorale), the end of Beethoven’s piano sonatas early period. Beethoven explores new territory. Whereas unity in structure, for example through returning motives and references, marks Beethoven’s work, it does not do so in this sonata. The four movements don’t seem to have a lot in common, but somehow that works out very well here. Also, in this sonata none of the four movements are written in sonata form and the order is new. Beethoven makes progress in redefining the genre with each sonata by giving each sonata unmistakable individuality.

The first movement (andante) is a wonderful and profound theme with variations, quite unusual at the time. Remarkable is how this first movement mirrors the structure of the entire sonata: theme and variations the first movement, the second variation the scherzo, the tragic third variation foreshadows the funeral march and the fourth and fifth variation represent the finale. The scherzo is followed by the famous funeral march, the heart of the work and very popular in Beethoven’s days. Beethoven even made a winds and brass arrangement that was played at his own funeral. The funeral procession comes from far away, gets louder, continues as it passes by and disappears. But life goes on, as the fourth movement (allegro) seems to tell us; the music is reminiscent of autumn leaves, quietly falling on the grave. Many pianists use this movement to show off dexterity, disregarding the beauty of it. At the end it is as if the music evaporates. No spectacle, but poetic imagination.

Sonata No. 12 ‘Funeral March’ is sponsored by Marlies Prenger

Andante con variazioni
Scherzo: Allegro molto
Marcia funèbre
Allegro
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