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SONATA in C major Op. 2 No. 3

By the summer of 1795, Beethoven had completed the first three sonatas (opus 2). The following winter, he performed all three. By now, Beethoven was regarded one of Vienna’s foremost piano virtuosos. The third sonata (opus 2 no 3 in C major) is intended to impress.

The symphonic first movement, allegro con brio, can be characterized as vigorous, humorous, but above all brilliant. It is full of melodic and thematic inventions of different character. The majestic chords, double octaves and virtuoso broken triades create an orchestral effect and are reminiscent of a concerto. It even has a brief cadence, which you would not expect in a sonata. The intimate opening phrase resembles a string quartet, followed by a symphonic fortissimo section, a half cadence and three beats of silence. After the silence an expressive theme in the dominant minor, followed by a theme marked ‚dolce’ in G major. Then an orchestral tutti section, brilliant and sunny, that ends in a cadence. In the development, that points forward to the Emperor Concerto, the concerto style of this movement becomes more and more apparent. The cadence at the end has a funny ending.

The second movement, adagio, is serene and calm, yet dramatic and filled with heartfelt emotion, tense pauses and rhetorical questions. The form is ABABA with some variations. The pianissimo B-section in E minor is reminiscent of a Bach organ prelude.

After the scherzo of the third movement, which is humorous again, the trio is in the parrallel (A) minor. The insistent rhythm gives the trio a stormy character. After the return of the scherzo, Beethoven adds a very funny little coda.

The last movement, allegro assai, is straightforward and, again, humorous. A brilliant rondo in the concertante style of the first movement. In the subdominant chorale-like theme you can hear a ‘Brahmsian connection’. A theft, but, according to András Schiff, a gentle one.

1. Allegro con brio
2. Adagio
3. Scherzo: Allegro
4. Allegro assai
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