The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedom. The second movement is one of those fast pieces, somewhat fantastic, with which Schumann has made us familiar at a later period. A remarkable recitative bridge portion follows which leads into one of the most beautiful airs ever penned by Beethoven, the Arioso Dolente. This runs into the Fugue, which is here used not so much as a movement in itself, but a concentration of the chief expression of the whole piece. Vincent d'Indy compares the expression here with that of the 15th String Quartet, Opus 132, written four years later, which contains the Song of gratitude to God for his goodness. In this Sonata, we have as it were a terrible combat against misfortune, then a return to life and hope, not in a calm pious prayer, but in an exultant hymn of joy triumphant.
The subject of the final Fugue is a simplification of the initial idea of the first movement. This opening movement is penetrated with a great religious calm. The Scherzo is somewhat puzzling, but appears to be a somewhat sorrowful frolic, a rather bitter amusement. In the Fugue, suffering disappears; even fantastic cleverness comes to the fore with the subject in contrary movement. Little by little life and joy return, and with the re-establishment of the tonic key, the piece triumphs in an enthusiasm of good feeling. The Italian indications to this sonata are fuller and more unusual, and show that Beethoven was aiming at the deepest possible expression. The use of the Una Corda, and the insertion of the Arioso Dolente into the Fugue, show what a struggle Beethoven underwent in the conquest of his feelings.
32nd Sonata, Opus 111, in C minor.
Maestoso—Allegro con brio—Arietta.
Although the designation Sonata persists with Beethoven right along throughout all his periods, yet in this last sonata we have left the first ones completely out of sight. The name must be taken merely in its general sense of a piece of high aims; or even in its literal sense, the Italian word meaning simply to play. This Sonata, which was dedicated to the Archduke Rudolph, is practically a Prelude and Fugue, with an Air and Variations. The introduction contains two themes, a leonine, stormy one and a singing phrase. The Fugue opens like a veritable thunder-storm. There are short phrases in the major which answer to the second subject, a brief snatch of two celestial bars, and the agitated atmosphere again unfolds itself. This second subject, which is a mere phrase, is repeated in the last portion of the Fugue in the tonic major, which brings the Fugue into line with the Sonata form proper. The beauty of the Coda has not been surpassed by Brahms in his sublimest moments.
After the storm, a calm. Beethoven concludes his world contribution of Sonatas with an air of celestial happiness, varied in the most lovely manner possible. "A voice from above," someone has called it. The variations lap round it tenderly like the waves caressing the sands on a beautiful calm day. The first variation gently stirs the rhythm of the theme. The second doubles the movement, and the third redoubles, and yet the peaceful calm is not disturbed. Into the Coda steals one of those beautiful pensive movements in the minor key. This emerges into the return of the theme, scintillating with heavenly radiance. Thus Beethoven closes his Sonatas in a heavenly peace.
FOOTNOTES:
[89] Beethoven could not endure the foreign word pianoforte.