Opus 14 no. 1 in E major, the ninth sonata, is quite a mysterious sonata, according to András Schiff. Where the opus 14 sonatas are generally considered easy, Schiff finds them difficult to play and interpret, filled with compositional subtleties. You can hear that Beethoven preprared a string quartet version of this sonata through the quartet-like counterpoint and the -… -… leitmotiv, which also makes you think of the fuga of the opus 110 sonata. We know from a letter Beethoven wrote to his publisher that he was very proud of the string quartet version, especially of the newly composed passages. „No one can do this like me!”, wrote Beethoven, who was of the opinion that a legitimate transcription always should be a transformation by the composer of the original work or by someone at least as talented and resourceful. At this time, Beethoven was taking an interest in the genre of the string quartet. Also, he was working on his first symphony. For some time, the piano sonatas became a medium for experimentation.

The lyrical opening motive -with its very beautiful inner voices- becomes more and more agitated. Then there is a beautifully colored new theme on the dominant. The constant changes of major and minor almost point forward to Schubert. The silences are dramatically important. The development is based entirely on a new theme, which generates a certain tension. It is in the tonic, but soon becomes A minor. The recapitulation is in triumphant forte. The rest of the first movement is predictable, except for the coda. The coda is quite impressionistic, like ‘shimmering lights that evaporate’, which is quite remarkable in the classical world. Beethoven wrings a lot of drama from humble material, with the help of beautiful counterpoint.

The beginning of the second movement, allegretto in E minor, reminds of Brahms with its very dark undertones. Then, after the double bar, the late-Renaissance harmonies make it sound a bit medieval. Beethoven writes a crescendo on a single note (the high E). On the piano, It is not possible to play a crescendo on a single note. Beethoven doesn’t care. It’s your imagination that matters. In the trio we can hear the string quartet again.

The section ends with three heartbeats and is followed immediately by the third movement (rondo: allegro commodo). From now on, Beethoven doesn’t write separate movements, but movements that belong together and form a unity. Again, we hear the string quartet. The middle episode has a particularly pleasing concert-like section.

This sonata seems innocent, but there is so much in it. It is undervalued, but -according to Schiff- Beethoven didn’t care. He wrote from an inner urge, not for success for the sake of it.