This programme is beautifully planned; 2 major works by Beethoven, each with a Mozart “curtain raiser”.  What could be better?  While the Mozart Sonatas are lighter in character, they are still masterly in their musical content.  The 2 Beethoven pieces show 2 sides to the composer’s personality. The Variations are light-hearted and even humorous, while the Opus 110 is one of the most important Sonatas ever created!  A true Masterpiece full deep emotion and beauty. 

When placing Mozart and Beethoven together, one should remember that the piano was still in its early development.   The piano of Beethoven’s Op.110 is far removed from the lighter toned, gentler action of Mozart’s fortepiano.  So, we must expect a very different music, while both composers are deeply expressive. 

Mozart composed the E flat Sonata in 1774 during a visit to Munich, where his Opera La Finta Giardiniera was in rehearsal. Unusually, it starts with a beautiful slow movement, marked Adagio.  The flowing right-hand melody is sent against a simple accompaniment.  The 2nd movement is ABA in construction – Minuetto 1 and the Minuetto 2 followed by a repeat of the first.  The 3rd movement is a brisk simple Allegro. 

Beethoven’s Op.35, strictly should be titled, Variations and Fugue in E flat major – a real full-scale work.  They became known as the “Eroica” Variations because they are composed upon the same bass figure used by Beethoven in the Finale of his “Eroica”, 3rd Symphony.  It was a favourite theme of the composer, being used in his ballet music for “The Creatures of Prometheus” and in one of his set of 12 Contredanses.  The bass line is a very simple one, but one that Beethoven uses with considerable ingenuity; it is clearly stated at the very opening.

Our 2nd Mozart Sonata does not follow the plan of the K282.  We have a straightforward opening Allegro containing some dramatic moments, followed by a glorious Slow Adagio.  A fast and brilliant finale in compound time ends the fitting “curtain up” to introduce Beethoven’s Sonata in A flat. 

Beethoven’s final 3 Piano Sonatas, opus 109, 110 and 111, are a monumental achievement in piano composition.  The Op.110 was composed in 1821 and published the following year.  The opening movement is marked in “a moderate speed with great expression”.  These last sonatas are littered with dynamic and expression markings.  The 2nd movement is an Allegro Molto- very fast with off beat accents.  3rd movement is an extraordinary piece of writing. 

Looking at the piano score, one can immediately see something remarkable.  It begins with a piano Recitative, unique in keyboard expression.  There are 6 tempo markings and a brief phrase thought to be fragment from Bach’s St. John Passion.  This leads to the gentle and sad “Arioso” and then to the first of 2 fugues. The Arioso returns before the 2nd Fugue which builds to a thrilling, passionate conclusion. 

Programme Notes Copywrite Alistair Jones, 2025