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Piano Sonata No. 32 (Beethoven)

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The Piano Sonata No. 32 in C minor, Opus 111, is the last of Ludwig van Beethoven's piano sonatas. The work was written in 1821–1822. Like other "late period" sonatas, it contains fugal elements and is very technically demanding.

The work is in two highly contrasting movements:

  1. Maestoso; Allegro con brio ed appassionato
  2. Arietta: Adagio molto, semplice e cantabile
The first movement, like many other works by Beethoven in C minor (see Beethoven and C minor), is stormy and impassioned. It abounds in diminished seventh chords, as in for instance the first full bar of its opening introduction:

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The final movement, in C major, is a set of variations on a 16-bar theme, with a brief modulating interlude and final coda. The last two variations are famous for introducing small notes which constantly divide the bar in 36 resp. 27 parts, which is very uncommon.

Beethoven’s markings indicate that he wished variations 2-4 to be played to the same basic pulse as the theme, first variation and subsequent sections. However almost all pianists speed up when playing these variations.

Typical performances take 8 to 9 minutes for the first movement, and 16 to 18 minutes for the second.

The work is one of the most famous compositions of the composer's "late period" and is widely performed and recorded. The pianist [Robert Taub] has called it "a work of unmatched drama and transcendence ... the triumph of order over chaos, of optimism over anguish." [link].

Media

by Ludwig van Beethoven
Op. 2 No. 1 | Op. 2 No. 2 | Op. 2 No. 3 | Op. 7 | Op. 10 No. 1 | Op. 10 No. 2 | Op. 10 No. 3 | Op. 13 (Pathetique) | Op. 14 No. 1 | Op. 14 No. 2 | Op. 22 | Op. 26 | Op. 27 No. 1 (Quasi una fantasia) | Op. 27 No. 2 (Quasi una fantasia — Moonlight) | Op. 28 (Pastoral) | Op. 31 No. 1 | Op. 31 No. 2 (Tempest) | Op. 31 No. 3 | Op. 49 Nos. 1 and 2 | Op. 53 (Waldstein) | Op. 54 | Op. 57 (Appassionata) | Op. 78 (A Therese) | Op. 79 | Op. 81a (Les adieux) | Op. 90 | Op. 101 | Op. 106 (Hammerklavier) | Op. 109 | Op. 110 | Op. 111

 


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