In 1798, Beethoven published three new piano sonatas as Opus 10. After the earlier three Opus 2 Piano Sonatas and the Opus 7 Grand Sonata, the Opus 10 sonatas eventually became numbered as Beethoven’s Piano Sonatas 5, 6, and 7.
The first of the Opus 10 sonatas is in Beethoven’s special key of C minor. With its alternation of loud and soft passages, the first movement builds its syncopated main theme from strong chords and fragmented dotted figurations.
Even the lyricism of the second movement is punctuated by agitated disruptions. The Finale Presto is structured oppositely, with syncopations similar to the first movement but interspersed with episodic statements at more conventional melody.
#Beethoven250 Day 99
Piano Sonata No. 5 in C Minor (Opus 10, No. 1), 1798
Pianist Jonathan Biss in a concert from radio station WQXR’s Beethoven Marathon of a few years back.
“Beethoven in C minor has come to symbolize his artistic character… it reveals Beethoven as Hero. C minor does not show Beethoven as his most subtle, but it does give him to us in his most extrovert form, where he seems to be most impatient of any compromise.” — Charles Rosen
#Beethoven250 Day 99
Piano Sonata No. 5 in C Minor (Opus 10, No. 1), 1798
Thirteen-year-old Lebanese-Japanese pianist Nadia Azzi in a student recital at New Music School of Chicago.