by wilhelm kempff

This sonata represents a most personal confession, so it is no wonder that Beethoven wished to keep it for himself and did not dedicate it to anyone. Moderato cantabile molto espressivo: An intimate light shines out of the two unworldly themes, which are linked by rising and falling arpeggios. In the development the principal theme makes its way through various keys and is sometimes darkened, to radiate light again at the beginning of the recapituation. Beethoven seems to be remembering the days when he could live in full possession of all his senses. The robust theme is based on an old popular song. In the recitative (Adagio, ma non troppo) and the concluding Arioso dolente the piano is called upon to act as the medium for one of the most moving of human utterances. Fuga (Allegro, ma non troppo): Beethoven gives the fugue a new, psychological significance, seeking to free himself from personal grief through this higher discipline. Once again we hear the music of the Arioso, 'wearily lamenting'. Thereupon the fugal theme appears inverted and mystically transfigured in a bright G major. Its original form is taken up powerfully in the bass and leads to a triumphant conclusion.