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142:, the sonata was written primarily from the summer of 1817 to the late autumn of 1818, towards the end of a fallow period in Beethoven's compositional career. It represents the spectacular emergence of many of the themes that were to recur in Beethoven's late period: the reinvention of traditional forms, such as
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achievements, as well as making tremendous demands on the performer, moves through a number of contrasting sections and includes a number of "learned" contrapuntal devices, often, and significantly, wielded with a dramatic fury and dissonance inimical to their conservative and academic associations.
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In the lives of great artists, there are unfortunate contingencies which, for example, force the painter to sketch his most significant picture as only a fleeting thought, or which forced
Beethoven to leave us only the unsatisfying piano reduction of a symphony in certain great piano sonatas (the
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The work was perceived as almost unplayable but was nevertheless seen as the summit of piano literature since its very first publication. Completed in 1818, it is often considered to be
Beethoven's most technically challenging piano composition and one of the most demanding solo works in the
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that is widely viewed as one of the most important works of the composer's third period and among the greatest piano sonatas of all time. Completed in 1818, it is often considered to be
Beethoven's most technically challenging piano composition and one of the most demanding solo works in the
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called the movement "the apotheosis of pain, of that deep sorrow for which there is no remedy, and which finds expression not in passionate outpourings, but in the immeasurable stillness of utter woe". Wilhelm Kempff described it as "the most magnificent monologue
Beethoven ever wrote".
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and features an incredible display of musical development. The fugato ends with a section featuring non-fugal imitation between registers, eventually resounding in repeated D-major chords. The final section of the development begins with a chromatic alteration of
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great B flat major). In such cases, the artist coming after should try to correct the great men's lives after the fact; for example, a master of all orchestral effects would do so by restoring to life the symphony that had suffered an apparent pianistic death.
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Beethoven indicated a tempo of 138 BPM on the half note for this movement, so fast that it is routinely dismissed by performers based on theories that it was a mistake from the composer or caused by a differently functioning metronome.
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768:. Dominated by falling thirds in the bass line, the music three times pauses on a pedal and engages in speculative contrapuntal experimentation, in a manner foreshadowing the quotations from the first three movements of the
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Wen, E. (2015). "A Sharp
Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven's “Hammerklavier” Sonata". In D. Beach & Y. Goldenberg (Eds.),
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The sonata's name comes from
Beethoven's occasional practice of using German rather than Italian words for musical terminology. In 1816 Beethoven sought advice on a German word that could replace
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also set a precedent for the length of solo compositions (performances typically take about 40 to 45 minutes, depending on interpretative choices). While orchestral works such as
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had first remarked on this in 1897). This descending third is quite ubiquitous throughout the work but most clearly recognizable in the following sections: the opening
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minor, has been called, among other things, a "mausoleum of collective sorrow", and is notable for its ethereality and great length as a slow movement (e.g.
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26:
619:, still in the minor, which eventually segues back to the scherzo. After a varied reprise of the scherzo's first section, a coda with a meter change to
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111:(literally "hammer-keyboard"). Beethoven titled the work "GroĂźe Sonate fĂĽr das Hammerklavier", meaning "Grand sonata for the piano". The preceding
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section opens with a statement of this final figure, except with alterations from the major subdominant to the minor, which fluidly modulates to
566:'s theme – which Rosen calls a humorous form of the first movement's first subject – is at once playful, lively, and pleasant. The scherzo, in B
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was also titled as being for "Hammerklavier", but the epithet has come to apply to the Sonata No. 29 only. The work makes extensive use of the
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is brought about by a sequence of rising intervals that get progressively higher, until the first theme is stated again in the home key of B
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Beethoven's
Viceroy at the Keyboard in Celebration of Wilhelm Kempff's Centenary: His 1951–1956 Recordings of Beethoven's 32 Piano Sonatas
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Structurally, it follows traditional
Classical-era sonata form, but the recapitulation of the main theme is varied to include extensive
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In keeping with
Beethoven's exploration of the potentials of sonata form, the recapitulation avoids a full harmonic return to B
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The entrance of the fugue. The subject appears in the bottom staff, and continues for a few bars past this excerpt.
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of the tenth leap and trill which follows, a contemplative episode beginning at bar 152 featuring the subject in
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figure in the treble clef in a high register, while the left hand moves in an octave-outlining accompaniment in
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374:'s imitation of the aforementioned fanfare, as well as in its trio theme; in bar two of the adagio; and in the
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The piece contains four movements, a structure often used by
Beethoven, and imitated by contemporaries such as
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The movement begins with a slow introduction that serves to transition from the third movement. To do so, it
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435:. A third and final musical subject appears after this, which exemplifies the fundamental opposition of B
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repetitively cites motives from the opening statement over a shimmering pedal point and disappears into
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of 15 or even 20 minutes for many years, few single movements in solo literature had a span such as the
146:; a brusque humour; and a return to pre-classical compositional traditions, including an exploration of
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major, Op.106, is thought to have been influenced by the Hammerklavier sonata, although the shared
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and places it in a minor key. Following this dark interlude, Beethoven inserts a more intense
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major, with a secondary theme in G major. The sonata's second movement is also a scherzo in
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opens with a fanfare similar to the fanfare heard at the start of the Hammerklavier sonata.
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chords are stated again, this time followed by a similar rhythm on the unexpected chord of
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The brief second movement includes a great variety of harmonic and thematic material. The
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There is a controversy whether A-sharp or A-natural should be played in measures 224-26.
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Sketches for the slow movement of Piano Sonata No. 29, probably of 1818, musical autograph
8:
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830:, whose development becomes the main source for the movement's unique dissonance. Marked
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1337:"Piano Sonata in B flat major, Op 106 (Mendelssohn) - from CDA68368 - Hyperion Records"
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688:'s Ted Libbey writes, "An entire line of development in Romantic music—passing through
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classical piano repertoire. The first documented public performance was in 1836 by
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major, the main substance of the movement appears: a titanic three-voice fugue in
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in the right hand that anticipate some of the techniques of Romantic piano music.
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in this movement through its chromatic alterations of the third scale degree. The
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1266:(translated and adapted by Mildred Mary Bozman). J. M. Dent & Sons, p. 134.
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to the tonic; a 7-note scale figure repeated descending by a third; and a tail
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1005:(3rd ed.). Bloomington, Indiana: Indiana University Press. p. 94.
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Marston, Nicholas (Autumn 1991). "Approaching the Sketches for Beethoven's
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467:
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1190:"Should We Play a♮ or a♯ in Beethoven's "Hammerklavier" Sonata, Opus 106?"
497:, in which the third and first subjects of the exposition are played. The
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is coincidental. Mendelssohn's sonata has a similar opening fanfare in B
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100:
1417:
1159:"Two Sets of Unexplored Metronome Marks for Beethoven's Piano Sonatas"
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419:. After the first subject is spun out for a while, the opening set of
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382:, as the seven-note runs which end up on notes descended by thirds.
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by repeating the sections an octave higher in the treble clef.
476:. Directly after, the exposition's first subject is composed in
1136:(expanded ed.). New York: W. W. Norton. pp. 409–433.
834:("with some licenses"), the fugue, one of Beethoven's greatest
477:
1473:, Work details, sound files, sketches, manuscripts, editions;
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in both its introductory bass octave-patterns and in the main
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330:
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639:, and briefly returns to the first theme before dying away.
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has described how much of the piece is organised around the
342:
connections within the movements and the use of traditional
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considered attempts to orchestrate the work "nonsensical".
712:
IV. Introduzione: Largo... Allegro – Fuga: Allegro risoluto
520:
major until long after the return to the first theme. The
304:, in contrast to the more usual three or two movements of
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685:
427:. This ushers in the more lyrical second subject in the
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of the fugue can be divided itself into three parts: a
1220:
Bach to Brahms: Essays on Musical Design and Structure
1032:(1962). "The Hammerklavier and Its English Editions".
1890:
107:), and after considering various possibilities chose
1368:
1325:(Cambridge, Harvard University Press, 1969), p. 728.
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in the opening of the fourth movement of that work.
1291:
The NPR Guide to Building a Classical CD Collection
977:(4th ed.). London: Rough Guides. p. 62.
937:produced an orchestration of the sonata. In 1878,
1397:The Journal of the American Musicological Society
1914:
16:Longest Beethoven piano sonata, composed in 1818
1699:No. 19 in G minor and No. 20 in G major, Op. 49
1068:
1827:Sonata in D major for piano four-hands, Op. 6
1510:
1133:The Classical Style: Haydn, Mozart, Beethoven
1430:Beethoven's Piano Sonatas: A Short Companion
1187:
972:
654:The ternary-form slow movement, centred on F
550:
415:, which form much of the basis of the first
1432:. Yale University Press. pp. 218–228.
493:. The music progresses to the alien key of
1517:
1503:
1334:
1293:. New York: Workman Publishing. p. .
973:Staines, J.; Clark, D., eds. (July 2005).
431:(that is, a minor third below the tonic),
397:The first movement opens with a series of
1938:Music dedicated to benefactors or patrons
1471:"Sonata for piano (B-flat major) Op. 106"
1466:International Music Score Library Project
1156:
1097:
1095:
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664:played for approximately 16 minutes and
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20:
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579:The trio, marked "semplice", is in the
1943:Music dedicated to nobility or royalty
1915:
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1247:
1000:
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758:minor to A major, which modulates to B
87:in Paris to an enthusiastic review by
1923:Piano sonatas by Ludwig van Beethoven
1498:
1484:on Beethoven's piano sonata Op. 109,
1374:
1231:
1126:
1090:
1028:
941:had suggested such an orchestration:
720:The beginning of the fourth movement.
668:25 minutes) that finally ends with a
1019:
963:
540:major chords conclude the movement.
312:'s sonatas. The four movements are:
991:
13:
1383:
1107:"Beethoven's Hammerklavier Sonata"
1101:
1079:Revue et gazette musicale de Paris
975:The Rough Guide to Classical Music
774:
715:
646:
623:follows. This coda plays with the
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507:, signalling the beginning of the
389:
283:Problems playing these files? See
187:
66:GroĂźe Sonate fĂĽr das Hammerklavier
25:Beethoven in 1818–19; portrait by
14:
1954:
1455:
1003:Guide to the pianist's repertoire
329:Introduzione: Largo... Allegro –
113:Sonata No. 28 in A major, Op. 101
1900:
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260:
241:
222:
203:
150:harmony and reinventions of the
1852:Piano Sonata in C major, WoO 51
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880:Piano Sonata No. 1 in C, Op. 1
572:major, maintains the standard
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1:
1880:Sonatina in F major, Anh. 5/2
1875:Sonatina in G major, Anh. 5/1
1157:Rosenblum, Sandra P. (1988).
957:
783:After a final modulation to B
385:
138:Dedicated to his patron, the
1933:Compositions in B-flat major
1677:No. 17 in D minor, Op. 31/2
875:classical piano repertoire.
869:
858:at bars 96–117, the massive
180:
7:
1847:Three Piano Sonatas, WoO 47
1672:No. 16 in G major, Op. 31/1
1601:No. 10 in G major, Op. 14/2
1323:Harvard Dictionary of Music
1188:Badura-Skoda, Paul (2012).
708:—springs from this music."
256:IV. Largo. Allegro risoluto
10:
1959:
1811:No. 32 in C minor, Op. 111
1795:No. 30 in E major, Op. 109
1776:No. 28 in A major, Op. 101
1717:No. 23 in F minor, Op. 57
1704:No. 21 in C major, Op. 53
1653:No. 15 in D major, Op. 28
1596:No. 9 in E major, Op. 14/1
1583:No. 7 in D major, Op. 10/3
1578:No. 6 in F major, Op. 10/2
1573:No. 5 in C minor, Op. 10/1
1341:www.hyperion-records.co.uk
1321:Willi Apel, "Retrograde,"
1863:
1835:
1819:
1766:
1758:No. 27 in E minor, Op. 90
1739:No. 25 in G major, Op. 79
1712:No. 22 in F major, Op. 54
1664:
1588:No. 8 in C minor, Op. 13
1554:No. 3 in C major, Op. 2/3
1549:No. 2 in A major, Op. 2/2
1544:No. 1 in F minor, Op. 2/1
1536:
1289:Libbey, Theodore (1999).
551:II. Scherzo: Assai vivace
218:II. Scherzo: Assai vivace
36:(1797–1852); source: the
154:within classical forms.
68:, or more simply as the
1222:. Boydell & Brewer.
843:of the fugue theme and
823:passage marked by many
370:of the Allegro; in the
354:of a descending third (
94:
1335:Larry Todd, R (2022).
948:
780:
721:
651:
627:relationship between B
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719:
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643:III. Adagio sostenuto
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237:III. Adagio sostenuto
191:
133:
24:
1530:Ludwig van Beethoven
1362:Human, All Too Human
892:'s Piano Sonata in B
666:Christoph Eschenbach
451:ends with a largely
169:had often contained
44:Ludwig van Beethoven
1462:Piano Sonata No. 29
1001:Hinson, M. (2000).
939:Friedrich Nietzsche
815:leap followed by a
346:formal structures,
338:In addition to the
48:Piano Sonata No. 29
38:Library of Congress
832:con alcune licenze
781:
752:minor to B major/G
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395:
333:: Allegro risoluto
193:
177:s third movement.
136:
64:106 (known as the
41:
1928:1818 compositions
1888:
1887:
1856:
1439:978-0-300-09070-3
1143:978-0-393-04020-3
1035:The Musical Times
984:978-1-84353-247-7
935:Felix Weingartner
890:Felix Mendelssohn
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1464:: Scores at the
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1072:(12 June 1836).
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1789:(Hammerklavier)
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1719:(Appassionata)
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1665:Middle sonatas
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1456:External links
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1453:
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1426:Rosen, Charles
1422:
1410:10.2307/831645
1404:(3): 404–450.
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1380:
1379:
1377:, p. 446.
1367:
1353:
1327:
1314:
1299:
1281:
1268:
1252:
1236:
1234:, p. 423.
1224:
1211:
1200:(4): 751–757.
1180:
1149:
1142:
1128:Rosen, Charles
1119:
1103:Crumey, Andrew
1089:
1086:(24): 198–200.
1070:Hector Berlioz
1061:
1048:10.2307/950547
1018:
1011:
990:
983:
961:
959:
956:
930:
927:
915:
871:
868:
845:countersubject
796:
770:Ninth Symphony
764:major for the
713:
710:
662:Wilhelm Kempff
644:
641:
608:
581:parallel minor
552:
549:
509:recapitulation
387:
384:
335:
334:
327:
324:
323:: Assai vivace
318:
314:
280:
273:Artur Schnabel
270:
259:
254:
253:
240:
235:
234:
221:
216:
215:
202:
197:
196:
195:
186:
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175:Hammerklavier'
127:
124:
96:
93:
89:Hector Berlioz
15:
9:
6:
4:
3:
2:
1955:
1944:
1941:
1939:
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1908:
1898:
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1894:
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1862:
1855:(fragmentary)
1853:
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1828:
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1679:(The Tempest)
1675:
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1669:
1667:
1663:
1657:
1656:
1651:
1649:
1648:
1637:
1635:
1626:
1624:
1623:major, Op. 26
1615:
1613:
1612:major, Op. 22
1604:
1602:
1599:
1597:
1594:
1592:
1591:
1586:
1584:
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1579:
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1569:
1568:
1565:major, Op. 7
1557:
1555:
1552:
1550:
1547:
1545:
1542:
1541:
1539:
1537:Early sonatas
1535:
1531:
1527:
1526:Piano sonatas
1520:
1515:
1513:
1508:
1506:
1501:
1500:
1497:
1491:
1487:
1483:
1482:András Schiff
1480:A lecture by
1479:
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1467:
1463:
1460:
1459:
1449:
1445:
1441:
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1399:
1398:
1393:
1392:Hammerklavier
1388:
1387:
1376:
1371:
1364:
1363:
1357:
1342:
1338:
1331:
1324:
1318:
1310:
1306:
1302:
1300:0-7611-0487-9
1296:
1292:
1285:
1278:
1272:
1265:
1261:
1256:
1250:, p. 379
1249:
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1098:
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1082:(in French).
1081:
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1037:
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1014:
1012:0-253-33646-5
1008:
1004:
997:
995:
986:
980:
976:
969:
967:
962:
955:
953:
952:Charles Rosen
947:
942:
940:
936:
933:The composer
929:Orchestration
926:
924:
918:
901:
891:
887:
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876:
867:
865:
861:
857:
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837:
833:
829:
828:passing tones
826:
822:
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767:
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709:
707:
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678:
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671:
670:Picardy third
667:
663:
649:
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626:
622:
618:
611:
600:
596:
592:
582:
577:
575:
565:
557:
548:
545:
541:
533:
529:
528:
527:pianississimo
523:
512:
510:
500:
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479:
475:
465:
460:
458:
454:
450:
434:
430:
426:
422:
418:
414:
411:
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401:
392:
383:
381:
377:
373:
369:
365:
364:Carl Reinecke
361:
357:
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348:Charles Rosen
345:
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332:
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159:Hammerklavier
155:
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109:Hammerklavier
106:
102:
92:
90:
86:
82:
77:
73:
72:
71:Hammerklavier
67:
63:
59:
49:
45:
39:
33:
28:
23:
19:
1836:Unnumbered (
1788:
1780:
1768:Late sonatas
1752:(Les adieux)
1751:
1732:
1718:
1705:
1692:
1678:
1654:
1646:
1590:(Pathétique)
1589:
1566:
1429:
1401:
1395:
1391:
1370:
1365:, § 173
1360:
1356:
1344:. Retrieved
1340:
1330:
1322:
1317:
1290:
1284:
1276:
1271:
1263:
1260:Bekker, Paul
1255:
1246:, quoted in
1239:
1227:
1219:
1214:
1197:
1193:
1183:
1169:(1): 59–71.
1166:
1162:
1152:
1132:
1122:
1110:. Retrieved
1083:
1077:
1064:
1039:
1033:
1002:
974:
949:
944:
932:
916:
888:
877:
873:
853:
848:
841:augmentation
836:contrapuntal
831:
797:
782:
723:
679:
653:
609:
598:
578:
574:ternary form
561:
546:
542:
531:
525:
513:
499:retransition
461:
457:eighth notes
420:
398:
396:
337:
291:
282:
174:
158:
156:
137:
117:
108:
98:
76:piano sonata
70:
69:
65:
47:
42:
18:
1800:No. 31 in A
1781:No. 29 in B
1744:No. 26 in E
1733:(À Thérèse)
1725:No. 24 in F
1706:(Waldstein)
1685:No. 18 in E
1647:(Moonlight)
1639:No. 14 in C
1628:No. 13 in E
1617:No. 12 in A
1606:No. 11 in B
1448:j.ctt5vm67n
1248:Libbey 1999
1163:Early Music
1030:Tyson, Alan
900:Opus number
704:, and even
682:figurations
674:Paul Bekker
601:section in
464:development
144:sonata form
126:Composition
85:Salle Erard
81:Franz Liszt
30: [
1917:Categories
1864:Doubtful (
1693:(The Hunt)
1655:(Pastoral)
1559:No. 4 in E
1375:Rosen 1997
1232:Rosen 1997
958:References
864:retrograde
821:semiquaver
740:minor to G
532:fortissimo
530:until two
449:exposition
429:submediant
421:fortissimo
400:fortissimo
386:I. Allegro
285:media help
271:Played by
199:I. Allegro
163:symphonies
105:fortepiano
101:pianoforte
1394:Sonata".
1346:27 August
1264:Beethoven
1206:0027-4380
1175:0306-1078
950:However,
870:Influence
850:sforzando
825:chromatic
726:modulates
625:semitonal
344:Classical
181:Structure
171:movements
118:una corda
1803:♭
1784:♭
1747:♭
1728:♯
1688:♭
1642:♯
1631:♭
1620:♭
1609:♭
1562:♭
1490:Part Two
1486:Part One
1428:(2002).
1309:42714517
1262:(1925).
1130:(1997).
905:♭
895:♭
786:♭
761:♭
755:♯
749:♭
743:♭
737:♭
731:♭
698:Schumann
690:Schubert
657:♯
636:♮
630:♭
621:cut time
588:♭
569:♭
537:♭
517:♭
504:♭
490:♯
484:♮
471:♭
453:stepwise
444:♮
438:♭
407:♭
340:thematic
298:Schumann
294:Schubert
167:concerti
55:♭
1112:24 July
1074:"Listz"
860:stretto
855:marcato
809:subject
746:major/E
734:major/B
564:scherzo
495:B major
433:G major
425:D major
417:subject
380:subject
372:scherzo
368:fanfare
321:Scherzo
317:Allegro
308:'s and
275:in 1932
83:in the
74:) is a
1893:Portal
1477:, Bonn
1446:
1436:
1418:831645
1416:
1307:
1297:
1204:
1173:
1140:
1056:950547
1054:
1009:
981:
807:. The
728:from D
702:Brahms
694:Chopin
599:presto
478:fugato
413:chords
410:-major
306:Mozart
302:Chopin
300:, and
1444:JSTOR
1414:JSTOR
1194:Notes
1052:JSTOR
847:in a
817:trill
813:tenth
805:meter
766:fugue
706:Liszt
633:and B
617:meter
591:minor
474:major
441:and B
376:fugue
360:minor
356:major
352:motif
310:Haydn
152:fugue
148:modal
120:pedal
58:major
34:]
1866:Anh.
1434:ISBN
1348:2024
1305:OCLC
1295:ISBN
1202:ISSN
1171:ISSN
1138:ISBN
1114:2023
1007:ISBN
979:ISBN
878:The
522:coda
487:to D
462:The
362:). (
331:Fuga
165:and
157:The
103:(or
95:Name
1838:WoO
1820:Duo
1528:by
1406:doi
1044:doi
1040:103
882:by
686:NPR
358:or
62:Op.
50:in
46:'s
1919::
1488:,
1442:.
1412:.
1402:44
1400:.
1339:.
1303:.
1198:68
1196:.
1192:.
1167:16
1165:.
1161:.
1105:.
1092:^
1076:.
1050:.
1038:.
1021:^
993:^
965:^
700:,
696:,
692:,
672:.
583:,
511:.
459:.
296:,
91:.
60:,
32:de
1895::
1868:)
1840:)
1518:e
1511:t
1504:v
1450:.
1420:.
1408::
1350:.
1311:.
1279:.
1208:.
1177:.
1146:.
1116:.
1084:3
1058:.
1046::
1015:.
987:.
917:4
798:4
610:4
585:B
534:B
481:D
468:E
404:B
287:.
52:B
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