When one thinks that such an official recognition of greatness had previously only been received by the Sonata op. 7 (in four movements), the Sonata Patetica op. 13 (in three movements) but not op. 10 number 3 (also in four times); that it would later be paid to operas 53 (in three movements, considering as a separate movement the Adagio very introductory to the Rondo), 106 (in four movements), 109 (in three movements), 111 (in two movements), but not to op. 26 (in four movements), nor to the two Sonatas of op. 27 (respectively in four and three movements), nor to op. 28 (in four movements), nor to the three Sonatas of op. 31 (respectively in three, three and four movements), neither to the Sonata Appassionata (in three movements), nor to op. 110 (in three movements, the last of which in four parts coordinated with each other according to a superior criterion of dramatic development), it must be concluded that it was certainly not exclusively an evaluation based on the inner efficiency of the music, nor even the consideration of the external constitution in four regular movements, nor, as Riemann would have it, the prerogative of the presentation in a single editorial work.

Rather, for all these cases, we can think of contingent and different reasons from time to time: here to the conformation of a work of broad line, of strong technique, of serene vigorous breath, such as to interest connoisseurs and at the same time to be appreciated by the public without forcing their sensitivity and imagination too much. To admit, moreover, as some do, that with this sonata the youthful period of Beethoven’s piano compositions comes to an end, does not mean to recognize that it summarizes all the various aspects, such as those, belonging in our opinion to a type of expression of a higher order, of some tempos of works 2, 10 and of the whole op. 13.

Impetus, momentum, boldness characterizes the Allegro con brio, also remarkable for the breadth of the themes and the importance that some articulations of the first acquire in the development of the whole tempo, supporting and guiding it in all its parts while the second, despite its beauty and originality, has a more limited use. The development, of great technical and instrumental interest, does not, however, reach a high expressive potential as instead, just to quote a page in some similar respects, in the Sonata op. 53.

The ample melodic, cantabile form of the ‘Adagio con grande espressione” does not exclude an elaboration of an instrumental nature. The sweet physiognomy, but at the same time grave and profoundly melancholy, has given rise in the past to fanciful comments. Griepenkerl thought of swans: “a marvellous image of all the desires of this world that seek below them, with their long greedy necks, the celestial signs, deceived by the sweet illusion of the waters that reflect them“; De Lenz spoke of Sehnsucht, “nostalgia similar to that which man feels for the invisible world he presents”; Ulibisceff found in them the yearning for “happiness impossible to obtain”.

The admiring commentaries of Bekker and Riemann are from more recent periods (those of the latter are also a little exaggerated, especially when it refers in particular to the Adagio of op. 106 and to operas 109 and 110). Less important is the third movement, where the physiognomy of the Minuet, clear, traditional in the first part, changes its appearance in the movement episodes of the second and even more so in the Trio, which recalls Mozart’s Turkish March with its figuration and opens the way to the Finale of the Appassionata.” The Rondo commends itself for the insinuating grace of the refrain no less than for the consensual secondary theme, which is so important as the driving force and animator of the three couplets and must then give rise to the “original theme” of the Variations mentioned in the following issue of this catalogue. (Biamonti 209, WoO 77).

Official title: Opus 22 Sonate (B-dur) für Klavier Widmung: Johann Georg Reichsgraf von Browne-Camus NGA VII/2 AGA 134 = Serie 16/11

Creation and publication: The surviving sketches date back to the summer of 1800; a first offer to a publisher was made to Franz Anton Hoffmeister on December 15 of the same year. The original edition was published in March 1802 by Hoffmeister & Comp, Vienna/Bureau de Musique Leipzig. Hints of the theme of the rondo are found at the same time as the sketches for op. 18 n. 6. The first more detailed drafts for the sonata appear together with those for op. 23 and 24. This suggests that Beethoven originally designed a group of three piano sonatas. Apparently, it was only later, during the development of the material, that the instrumentation of the other two compositions was defined, which became two sonatas for violin and piano. In the same notebook there are annotations for the WoO 77 variations, whose theme is surprisingly very similar to bars 18-20 of the last movement of op. 22.

Having made this consideration, we must note, however, that the theme of variations is certainly earlier (Kramer/Sommer, 1800, vol. 2, p. 21f). On 15 December 1800 Beethoven offered Franz Anton Hoffmeister, among other works, a “große Solo Sonata” (BGA 49). He repeated his offer on 15 January 1801 with the remark “diese Sonate hat sich gewaschen, geliebtester Hr. Bruder” (BGA 55), which the publisher accepted on 24 January 1801. In April and June Beethoven sent the number of the work and the text of the title (BGA 60 and 64). In December 1801 Hoffmeister was able to report: “Beethoven grand Sonat ist fertig und sehr schön” (BGA 76). The epistolary statement refers only to the completion of the engraving; the printing was delayed for unknown reasons until March 1802. On 8 April 1802 Beethoven was satisfied: “Meine Sonate ist schön gestochen” (BGA 84).

As for the dedication, see the Trios op. 9. First execution unknown. Sketches: 1st, 2nd and 4th movement: mus. SM. autogr. Beethoven 19e (“Sommer 1800”), and associated sheets: (a) private collection NL J.W.R. Dreesmann, SV 359; (b) D-BNba, Coll. H.C. Bodmer, HCB BSk 25/73, facsimile: DBH/online. In Richard Kramer’s reconstruction: Folio 9v, llv, 19r, 26v-30v, 31v-33r, facsimile and transcription: Kramer/Sommer1800. (2) Movements 1 and 4: F-Pc (in: Pn), Ms 71, one sheet. Date: early 1800s, facsimile and transcription: Kramer/Sommer 1800, further facsimile: Gallica.  Transcription in good copy DB, Mus. SM. autogr. 23a. Title: Sheet 1 Beethoven ‘s handwritten recto “Grande Sonate / Composee [!] / par / Louis van Beethoven.”. 12 sheets; Folgio 1 recto title, 22 pages of musical text sheet 1 versus – 12 recto, folio 12 empty. Paper: landscape format, 22 x 31 cm, 1 line. Provenance: C. F. Peters, still 1868. – Acquired after 1868. Facsimile: SBB/online. Description: Bartlitz/Catalogue p.7. III original edition 1802 (March). Vienna, Hoffmeister &c comp. / Leipzig, Bureau de Musique, PN 88. -Title: “GRANDE SONATE / pour le / Piano Forte / composée et dediée / à Monsieur le Comte de Browne / Brigadier au Service de S. M. J. de toute la Russie, / par / LOUIS VAN BEETHOVEN . / Opera XXII. / à Vienne chez Hoffmeister & Comp. / in Leipzig at the Bureau de Musique. /