This Sonata was announced for the first time on March 3rd, 1802. Two of the movements are in slow time—an Air with Variations, and a "Funeral March on the death of a hero." The March is said to have been written as a set-off to the popular one of that day in Paer's opera, Achilles.
It is not a lamentation, but rather a tragic elegiac picture set in an impressive frame. One feels the throb of brass, the blare of trumpets, the roll of muffled drums, the impressive pageantry of death. The opening Andante is beautiful, and in the variations the theme breathes as it were through a thin lovely veil. The technique looks backwards rather than forwards, and the movement ends with a calm phrase. The final Rondo bubbles with life ceaselessly until it disappears in a faint whisper.
13th Sonata, Opus 27, No. 1, in E flat.
Sonata quasi una Fantasia.
Andante—Allegro—Andante—Allegro molto e vivace—Adagio con espressione—Allegro vivace.
Dedicated to Princess Lichtenstein.
This Sonata was first published together with the following one in C sharp minor on March 3rd, 1802. They were both composed in 1801, the happy year of the composer's love for Countess Giuletta Guicciardi. The term Fantasia by no means implies formlessness, but rather a departure from the ordinary Sonata form. The first movement—an Andante, full of light and shade—is held by purists to be wrongly barred throughout, the first beat being the third, and so on. It is followed by an Allegro in C major which leads back to the return of the Andante, this time varied. The Allegro, which takes the place of the Scherzo, is full of imagination and vigour. The slow movement is used as a bridge leading into the Finale. All the movements are chained together in one whole. Just before the precipitant Coda, Beethoven takes a final glance back at the subject of the Adagio.
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.