Opus 110 Sonata in A flat Major for piano
I) Etwas lebhaft, und mit der innigsten Empfindung – II) Lebhaft. Marschmäßig – III) Langsam und sehnsuchtsvoll – IV) Geschwinde, doch nicht zu sehr und mit Entschlossenhel
OPUS 110 – Sonata in A-flat major for piano, Op. 110, 1820 – spring 1822, published in Paris and Berlin by Schlesinger; Vienna, Steiner and Artaria, Mechetti, Cappi and Diabelli; London, Boosey, Chappel and Clementi, July 1822. GA No. 154 (series 16/31) – B. 110 – KH 110 – L. IV, p. 70 – N. 110 – T. 228
The original manuscript is held at the Deutsche Staatsbibliothek in Berlin. Various sketches are noted by Nottebohm among those for the Missa solemnis. The first movement shares that spirit of sweetness and amiability that gives its particular character to the triple-time musical material of the two Sonatas in A major, Op. 101, and in E major, Op. 109.
The opening theme consists of two distinct parts: the first is fundamental because, in addition to forming the core of the development, it already contains the basis for the final fugue: through this second aspect, it also connects to a type of melodic design based on ascending fourths that Beethoven employed more than once in various works. The second part, of Haydnesque derivation as D’Indy long ago observed, and already introduced by Beethoven in other works (the Minuet from the Sonata Op. 30 No. 3 for piano and violin, Fantasy for piano Op. 77), soars melodiously in an atmosphere of clear sonorities, whose vibrations continue, with an increased sense of lightness, in the arpeggios that spread across the entire keyboard. The second theme has a more dynamically varied character, yet persists in the same expressive style.
The development, as mentioned, is based on the first part of the opening theme, whose statement—repeated in descending keys over a continuous bass movement—takes on a character of restlessness. Even the recapitulation, by virtue of some amplification and modification, has a more agitated character than the exposition, but ultimately resolves as if in resigned acquiescence. Between the gentleness of the first movement and the drama of the third, the middle Allegro molto functions as an intermezzo, without expressive connections to either of the two aforementioned movements, and on the other hand cannot be considered an essential element of contrast. It is, however, an unmistakably Beethovenian passage. The first two parts are imbued with a robust joviality (here also emerges the fragment of a “Silesian street song,” as Rolland calls it: “Ich bin liederlich” [I am disordered]).
The Trio, by contrast, has an airy lightness in its lively descending design, connected and lightly punctuated by the off-beat notes in the lower part: overall, a passage of refinement within the main passage formed by the first two parts.
These sections are repeated, eventually ending in a series of reiterated chords, oddly (we might say provisionally) despite the determination of the final harmonies, in F major. The third and final movement, as in the previous Sonata Op. 109, is the most developed; however, while there it ideally connected to the mood of the first movement, here it appears as a separate statement, constituting in itself a poem of suffering and transcendence. The form, despite its various articulations, is clear and defined. It is an Adagio and Finale developed according to the principle of a complete dramatic narrative.
The Adagio is preceded by an introduction with a Recitative, which, in its scope and expression, falls between that of the Piano Sonata in D minor Op. 31 No. 2 and the Ninth Symphony. Then, introduced by the murmur of a triplet movement (gradually integrated into its dark color by the descending entry of the notes of the minor chord) and accompanied by it, the sorrowful Arioso emerges, in which the passionate, speech-like expression of the recitative unfolds, lyricising into a broken, yearning melody analogous in form to other Beethoven works from his late creative period (for example, the Cavatina from the String Quartet in B-flat major Op. 130, the Adagio of the Quartet Op. 135). One can see in the theme the conscious or unconscious reminiscence of a typical Bachian gesture, or the foreshadowing of a lyrical Bellinian mode: encounters that bring together, in the essence of a profoundly human musical language, styles and forms from different countries and eras. The melody concludes with a sense of closed despair.
In contrast, the fugue in the major key, which arises from its own final note with an ascending theme in fourths, asserts itself as a renewal of life at work: at first gently, then increasingly determined and vigorous; until, in full polyphonic development, it suddenly halts on the notes of a suspended chord, which, modulating to another key, minor, reintroduces the arioso: now sadder, disconsolate, broken. The shift in the final rhythmic accentuation, however, removes the bleakly static character of its first conclusion, imparting instead a sense of surging (in which the yearning of the last melodic phrase continues in its own way), and, at the same time, through the sudden passage to the major mode and the resonance of the chords in ever-broader, vibrating sonorities, transforms it into a different meaning.
It is under the impression of this consoling clearing that the movement of the major-key fugue is resumed: initially faltering with its inverted theme, then, in its original ascending form, increasingly confident: rising, enlarging, spreading in the regained tonic of A-flat without encountering further obstacles, and concluding—having left the strict polyphonic form—in a triumphant hymn.
Schering refers, for this sonata, to Schiller’s Maria Stuart. First movement: Act III, Scene I: second stanza of Maria Stuart’s lyrical monologue: Popoli che vi affrettate — Second movement: same, fourth stanza of Maria’s lyrical monologue: Sentite il corno da caccia — Third movement: a) Adagio: Act V, Scene VII: end of Maria Stuart’s confession: il Signore mi giudica degna, b) sorrowful Arioso and Fugue: the Communion: Melvil gives Maria the host and assures her of eternal salvation.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 110 Sonate (As-dur) für Klavier Widmung: — NGA VII/4 AGA 154 = Serie 16/31
Creation and publication: The sonata was sketched from September to December 1821 in Vienna. Beethoven dated the fair-copy transcription of the work 25 December, presumably the same day the copy was completed. On 11 January 1822 he delivered it to a Vienna copyist, to be forwarded to the publisher Schlesinger in Berlin. The original edition was published by Schlesinger from July 1822 in three parallel editions for Paris, Vienna, and Berlin. The original London edition followed in July 1823, published by Clementi & Co. (illustrations). The piano sonata op. 110 belongs to a group of three sonatas (op. 109–111) that Beethoven had promised to the Berlin publisher Adolph Martin Schlesinger in April 1820 (BGA 1388, see op. 109, composition and publication).
Although he had promised on 20 September 1820, “die erste [Op. 109] ist fast bis zur Correctur ganz fertig, und an den beyden lezten arbeite ich jezt ohne Aufschub” (BGA 1410), it was the Missa Solemnis that occupied the center of his compositional activity in the autumn. On the other hand, Beethoven was barely able to compose in 1821 due to various illnesses, including severe jaundice. Only in September did his health improve (Kinderman/Artaria 195 Vol. 1 pp. 55–57). During the year he repeatedly promised to deliver the sonatas soon (BGA 1428, 7 March 1821: “Die ändern beyden Sonaten folgen nun bald”; BGA 1431, 7 June 1821: “die ändern beyden Sonat. erhalten Sie bald”), but he only worked on them intensively from the autumn of 1821 (William Kinderman dates some sketches for the first movement contained in the sketchbook Artaria 197 to June/July 1820). On 13 October 1821, Schlesinger requested information about the other sonatas (BGA 1442). Beethoven promised him on 13 November: “was die ändern 2 Sonaten anbetrift, so werden selbe bald folgen, u. zwar korrekt abgeschrieben, mit dem Manuscript mitschicken, dies ist zu gefährlich, denn wenn ein widriger Zufall Manuscript u. Abschrift träfe, so wäre das ganze werk verlohren, das vorigemal geschah es, indem ich meiner kränklichen Umstände wegen mein Concept weitlaüfiger aufgeschrieben als gewöhnlich, jezt aber wo wie es scheint meine Gesundheit beßer ist, zeige ich wie sonst auch nur gewiße Ideen an u. bin ich mit dem ganzen fertig im Kopfe, so wird alles aber nur einmal aufgeschrieben —“ (BGA 1446).
On 12 December 1821, Beethoven announced that op. 110 was practically finished: “eine Sonate werden sie wohl jezt sehr bald erhalten” (BGA 1450). After a complete revision of the third movement, the full transcription of the work was completed at the end of 1821 / beginning of 1822. On 11 January 1822, Beethoven delivered the model for engraving, copied by Wenzel Rampl, to Tendier & Manstein in Vienna for shipment to Berlin. On 1 May 1822, Beethoven gave an evasive answer regarding a dedication and announced that he would soon provide information on the dedicatee (BGA 1462). This did not happen.
The assertion made by Adolf Bernhard Marx already in 1824 that the second movement of the sonata “die Melodie eines wüsten allgemein bekannten Volkliedes einwebt”—namely, “ich bin lüderlich, du bist lüderlich” (Marx/Beethoven 1859 p. 362)—has been questioned by William Drabkin based on the results of sketch studies.
The three parallel editions by Schlesinger: The Sonata op. 110 was published by Schlesinger in three parallel editions, destined for Paris, Vienna, and Berlin, appearing in rapid succession. The first for Paris, the second probably for Vienna (as suggested by Maurice Schlesinger’s stamp on the title). The plates were then taken to Berlin, where Adolph Martin Schlesinger used his publication with imprint 1159 and changed the pagination. Maurice Schlesinger informed Beethoven on 3 July 1822 that the sonata engraved in Paris would soon be delivered: “Wie Sie bereits erfahren habe ich mich jetzt hier etablirt, und werde zur besseren Verbreitung, und damit Ihre Werke auch dem Inneren werth äußerlich ausgestattet werden, dieselben hier stechen lassen. Bereits ist die 2.t Sonate vollendet, und wird nächstens dem Publico überliefert werden” (BGA 1476).
Regarding the omitted dedication: In a letter of 1 May 1822, Beethoven wrote to Schlesinger in Berlin: “Was die 2te Sonate in As betrift, so habe ich die Zueignung an jemanden bestimmt, welche ich ihnen beym nächsten zusenden werde” (BGA 1462). On 2 July, the publisher reminded him: “Zeigen Sie mir daher gefälligst bald an, wem Sie die 21 Sonate zueignen wollen” (BGA 1474). This did not occur, as the Schlesinger edition appeared in the summer of 1822 without a dedication. Beethoven reproached Maurice Schlesinger in a letter of 31 August 1822 for having written to both father and son that “daß die Sonate in As jemand, von meinen Verbindungen sollte zugeeignet werden,” but that this had not happened (BGA 1491). A draft letter to Ferdinand Ries of February 1823 shows that Beethoven had considered Antonie Brentano as the dedicatee, at least for an English edition (BGA 1592). However, even the Clementi edition (July 1823) appeared without a dedication.
First performance unknown, but Carl Czerny played the sonata privately at the beginning of February 1824 (BKh 5 p. 133).
