The E-flat major Sonata, op. 12, no. 3 by Beethoven is a grand, virtuoso work, whose opening shows just the kind of expansive gestures that set Beethoven’s themes apart from those of his Classic period counterparts. And yet, there are enough elegant eighteenth-century sounds to show Beethoven’s deep roots in this tradition, and particularly his study of Mozart’s sonatas for piano and violin.
One of the many striking moments in the second movement comes just before the close of the exposition when Beethoven builds tension with fast figuration and pounding octaves only to relax into a humorous new little theme. The tempestuous development reminds us of the proximity to his Pathétique Piano Sonata, and the recapitulation is capped by a coda that dramatically suggests the start of a new development section before coming to an emphatic close.
The slow movement highlights first the piano’s lyrical capabilities then the violin’s in the main theme, whereas the violin “sings” the entire middle section over rippling accompaniment. The regular return of the opening section of this aria-like movement seems straightforward until Beethoven takes off on an extended section that almost sounds improvised in its freedoms and unexpected turns.
The jolly rondo that ends the Sonata contains three contrasting episodes alternating with its dancing refrains. The first, which returns for the third episode, sounds like a variation on the lively main theme, and the second shows Beethoven indulging in his love for contrapuntal devices without actually launching a fugue.
Here are pianist Enrico Pace and violinist Leonidas Kavakos to play this amazing music for you:
