14th Sonata, Opus 27, No. 2, in C sharp minor.
Adagio sostenuto—Allegretto—Presto agitato.
The title page describes the work as for clavecin or pianoforte. The nickname, "Moonlight," given to it by the poet Rellstab, has no authority and only serves very faintly to define the peaceful charm of this sensitive picture, which was more probably inspired by the composer's romantic love for the Countess Giulietta Guicciardi. The direction in Italian, "to be played throughout with the greatest delicacy," is significant, although the term senza sordini is somewhat vague. It may have meant that it is to be played with the sustaining pedal, i.e., without the dampers. It is probably a general indication that the piece requires the pedal to sustain each harmony, for nowhere is harmony put to such effective use as in the dreamy yet placid opening Adagio. There is scarcely a stir, except where an occasional minor 9th causes a slight emotional ripple.
A little Allegretto takes the place of the usual Minuet. It might be a dance of peasants, heard in the distance. The restless and passionate Presto is one of the finest movements in all the master's works.
Like the preceding Sonata, all the movements follow on without break. But there is a definite organic connection between them, the Finale, and the opening movement in particular. Compare the first four semiquavers of the Presto with the second quaver group of the Adagio, and the quaver chords in the second bar of the Presto with the melodic figure in bars 5 and 6 of the opening movement.
The second subject of the Finale has three well-defined sections, the first melodic, the second dolorous expressive chords, the third a souvenir of the first. The Coda is one of the most deeply expressive things Beethoven has ever written. It ends with a powerful gust of unpent passion.