Sonata for Cello and Piano in A Major, Op. 69 Ludwig van Beethoven
This is the best known and most frequently heard of Beethoven's five sonatas for cello and piano. It dates from 1807-1808. Beethoven scrawled a cryptic Latin motto on the autograph score, "Amid tears and sorrow," which some have interpreted as his reaction to a failed love affair. It is hard, however, to connect that idea with the music of Op. 69, which is mainly confident and buoyant in style.
The first theme of the opening movement is a smooth melody begun by the solo cello and completed by the piano. There is a stormy transition to the lyrical second subject and a vigorous closing theme proposed by the piano. The development ranges widely in dealing with these themes, and in the recapitulation section the first theme reappears in the cello with delightful decorations wound around it by the piano.
The middle movement, a scherzo, features a cleverly syncopated opening theme and a broadly lyrical contrasting theme that is heard over restless accompaniment figures in the piano. The last movement is prefaced by an extended slow introduction that might deceive some listeners into expecting a full-dress slow movement; but shortly it transitions to the lighthearted allegro that is the main body of the movement. Amit Peled
Classical Music | Cello Music
Ludwig van Beethoven
Cello Sonata No. 3 in A Major, Op. 69 Play
Recorded on 01/18/2006, uploaded on 02/05/2009
Musician's or Publisher's Notes
Sonata for Cello and Piano in A Major, Op. 69 Ludwig van Beethoven
This is the best known and most frequently heard of Beethoven's five sonatas for cello and piano. It dates from 1807-1808. Beethoven scrawled a cryptic Latin motto on the autograph score, "Amid tears and sorrow," which some have interpreted as his reaction to a failed love affair. It is hard, however, to connect that idea with the music of Op. 69, which is mainly confident and buoyant in style.
The first theme of the opening movement is a smooth melody begun by the solo cello and completed by the piano. There is a stormy transition to the lyrical second subject and a vigorous closing theme proposed by the piano. The development ranges widely in dealing with these themes, and in the recapitulation section the first theme reappears in the cello with delightful decorations wound around it by the piano.
The middle movement, a scherzo, features a cleverly syncopated opening theme and a broadly lyrical contrasting theme that is heard over restless accompaniment figures in the piano. The last movement is prefaced by an extended slow introduction that might deceive some listeners into expecting a full-dress slow movement; but shortly it transitions to the lighthearted allegro that is the main body of the movement. Amit Peled
More music by Ludwig van Beethoven
7 Variations
Andante
32 Variations in c minor, WoO 80
Alegretto, from Piano Trio in B-flat Major, WoO 39
Piano Sonata No. 4, in E-flat Major, Op. 7
Concerto for Piano and Orchestra No. 4, Op. 58 (Rondo Vivace)
Sonata No. 32 in c minor, Op. 111
Sonata No. 13 Op. 27, No. 1 in E-flat Major, "Quasi una Fantasia"
Piano Trio No. 4 in B flat major, Op. 11 for clarinet, cello & piano
Symphony No. 5 in c minor, Op.67 (Allegro)
Performances by same musician(s)
Piano Trio No. 4 in B flat major, Op. 11 for clarinet, cello & piano
Méditation hébraïque for cello and piano
Cello Sonata No. 4 in C Major, Op. 102, No. 1
Cello Sonata No. 5 in D Major, Op. 102, No. 2
Märchenerzählungen (Fairy Tales) Op. 132 for Clarinet, Viola and Piano
Trio in a minor, Op. 114 for Clarinet, Cello and Piano
Sonata for Cello and Piano in g minor, Op.19
Trio No. 5 in D Major “Ghost” for Violin, Cello and Piano Op. 70, No. 1
Air de Diable
Piano Trio in B-flat Major, Op. 97, “Archduke”
Classical Music for the Internet Era™
Courtesy of International Music Foundation.