Beethoven wrote thirty-two sonatas, and in the following table the opus number of each work is given, also the date of its publication; some have a title, and the greater number a dedication:—
The autograph of the last sonata does not bear any dedication, but, from a letter of Beethoven (1st June, 1823) to the Archduke, it is evident that it was intended for the latter.[96]
The fanciful name of "Moonlight" to Op. 27 (No. 2), the appropriate publisher's title of Op. 57, and the poetical superscriptions of Op. 81A, have, without doubt, helped those sonatas towards their popularity. It does not always happen that the most popular works of a man are his best; but these in question justly rank among Beethoven's finest productions. The last five sonatas are wonderful tone-poems; yet, with the exception, perhaps, of Op. 110, in A flat, as regards perfection of form and unity of conception, not one equals Op. 27 (No. 2), Op. 31 (No. 2), and Op. 57. Apart from any æsthetic considerations, the digital difficulties of the last five sonatas prevent their becoming common property. The brilliant technique of Op. 53 has proved a special attraction to pianists, and it has therefore become widely known. With this one sonata Beethoven proved his superiority, even in the matter of virtuosity, over the best pianists of his day.
In order to be able to enter fully into the spirit of the music of great composers, it is necessary to know the history of their lives. Beethoven's is fairly well known. But it may be worth while to refer, briefly, to the principal men and women to whom the master dedicated his pianoforte sonatas.
Of the thirty-two, as will be seen from the above table, eight have no dedication.
In the year 1792 Beethoven left Bonn and went to Vienna. There he studied counterpoint under Haydn, yet the lessons proved unsatisfactory. But the fame and influence of the veteran master no doubt prompted the young artist to dedicate to him the three sonatas, Op. 2. The title-page of the oldest Vienna edition runs thus:—
Trois Sonates pour le Clavecin Piano-forte composées
et dediées
A Mr. Joseph Haydn Docteur en musique par
Louis van Beethoven.
There was perhaps more of sarcasm than respect in the "Docteur en musique"; Beethoven is related to have said that he had taken some lessons from Haydn, but had never learnt anything from him. Nevertheless he paid heed to his teacher's music. There are in the sonatas one or two reminiscences of Haydn, which seem to us curious enough to merit quotation. One occurs in the sonata in C minor (Op. 10, No. 1). We give the passage (transposed) from Haydn, and the one from Beethoven:—[97]
