The 15th sonata in D, opus 28, marks, together with sonatas opus 26 and 27 no 1and 2 the end of Beethoven’s piano sonatas early period. It is a more conventional sonata compared to its predecessor, the so-called Moonlight Sonata, but it also has a nickname: Pastorale. The pastoral dream is the idea that we will achieve happiness and inner peace by living a more simple life. Less is more. The beauty, harmony and power of nature resonate in Beethoven’s music, especially in this sonata. How does Beethoven do that?

The close thematic relationship between the movements and the organic flow of the continuous pulse in the bass create an extraordinarily relaxed atmosphere. It’s Beethoven at his most beautiful: touching and serene, yet skillful and subtle. In the first movement (allegro) the gradually ascending and descending melody as well as the repetition of resembling figures contribute to the relaxed atmosphere. The music breathes time, vastness and peace. But Beethoven would not be Beethoven without drama, so in the development his talent for conflict and contrast returns. The difference between this sonata and earlier ones is that this is drama on a refined and delicate level. The gradually compressed main theme combined with a new counter melody is reminiscent of a refreshing thunderstorm, after which everything comes to rest again.

The second movement (andante) starts melancholy, but is very happy again in the middle section, with pastoral elements such as bird singing. Then the minor returns, with Beethoven’s beautiful variation technique. Especially the end is beautiful: the music stops, tries again, asks, becomes desparate and eventually resolves to create a tense silence afterwards.

In the scherzo of the third movement Beethoven reverses the heavy and melancholy theme of the second movement and with it the mood, which is light and humorous. The trio is even funnier. Beethoven uses the same melody eight times, but that is hardly noticable because of the clever and subtle changes.

Movement four (rondo: allegro non troppo) is built on a bagpipe base. The constant tonic of the bagpipe, the simple melody and the 6/8 bar give this movement a typical pastoral character. The finishing presto is virtuoso, according to Charles Rosen to annoy amateurs.

The Pastorale Sonata is indivisible, a formal and emotional unity. It is a delicate sonata, rich in thematic and contrapuntal delights, all of which contribute to the lyrical atmosphere.

Sonata No. 15 ‘Pastorale’ is sponsored by Bernard te Boekhorst