Published for the first time in 1799, and dedicated to the Prince Carl von Lichnovsky. Although one of the few authentic titles, it is difficult to see the meaning of its bearing of the Sonata as a whole, unless indeed it is applied to the sad and dramatic introduction theme which, indeed, deserves as a leading motive to the first movement being introduced before the development section, and it ends just before the coda. The slow movement is of wonderful serenity and breathes a great religious calm. Still, it was a great offence against good feeling to make the single a double chant out of it as one of our cathedral organists has done. The Rondo does not quite reach the high plains of the first two movements, it was probably written much earlier; note the reflective mood again just before the final whirlwind. There is no Scherzo or Minuet in this Sonata.
9th Sonata, Opus 14, No. 1, in E major.
Allegro—Allegretto—Rondo.
The two Sonatas in this Opus, which is dedicated to the Baroness von Braun, are not very interesting. No. 9 has no slow movement. The meditative feeling having, apparently, crept into the Allegretto, which should again be taken as two bars in one. The Rondo in E is of great beauty and finish. The middle episode has again the feeling of a hunting song.
They appeared for the first time in December, 1799.
10th Sonata, Opus 14, No. 2, in G major.
Allegro—Andante—Scherzo.
The first movement, in Sonata form, is a remarkable example of the growth of a whole movement from a single germ.
The Andante is an air with variations. The form of this is really ternary, although if the second part be repeated, it will throw the theme into five sections, A, B, A, B, A. The first variation places the air in the tenor, the second divides the harmony rhythmically, the third breaks up the harmony into semiquavers. Purists hold that this movement is wrongly barred throughout, the first beat coming where the third now is.
In the last sprightly movement, the Scherzo and Finale seem to have run into one.