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Sonata in E, Op. 109 - Ludwig van Beethoven (1770 - 1827)

Vivace, ma non troppo
Prestissimo
Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo)

I am reproducing here the note I wrote for the booklet to accompany my Rattle recording of the 32 sonatas of Beethoven. As far as I can tell I have not changed my mind since I wrote it.

This, the first of the final three immortal sonatas, seems to have neither a beginning nor an ending. Rather it unobtrusively attaches itself to an indefinable spiritual continuum and serenely detaches itself again when the notes are done. During the period of its attachment its form and content seem to be determined by matters as much psychological as musical, and it might even accommodate an approach from the world of dreams. Whilst perfectly cogent on its own terms, such music as this renders analysis pointless. It can only be played as an unfolding, a Becoming which achieves an exalted Being before it is relinquished.

However, Beethoven does not lose his awareness of an audience, no matter how deeply he explores his innigster self. There is great dynamic interest, much is made of sudden changes, there is powerful virtuosity in the Prestissimo, and the songfulness of the third movement variations is hypnotic.

Most magically, we feel that the theme of the variations has been transformed when we hear it again, barely changed, after the sixth variation. And yet it is impossible to define what has happened in the meantime. It seems to be to do with the nature of Time itself. All we can do is bow low before Beethoven's sublime understanding.