BEETHOVEN Cello Sonata No. 5 in D major (Op. 102, No. 2) Score

"The Sonatas for cello and piano No. 4 in C major, Op. 102, No. 1, and No. 5 in D major, Op. 102, No. 2, by Ludwig van Beethoven were composed simultaneously in 1815 and published, by Simrock, in 1817 or early 1818 with a dedication to the Countess Marie von Erdődy, a close friend and confidante of Beethoven.
The two sonatas were composed between May and December 1815. A first copy by Beethoven’s copyist Wenzel Rampl was made in late 1815 but was then subject to further alterations by Beethoven. A subsequent ‘good’ copy was supplied in February 1816 to Charles Neate for proposed, though unrealized, publication in London. Beethoven then made further small alterations prior to their eventual publication by Simrock in Bonn.
During the period 1812 to 1817 Beethoven, ailing and overcome by all sorts of difficulties, experienced a period of literal and figurative silence as his deafness became overwhelmingly profound and his productivity diminished. Following seven years after the A Major Sonata No. 3, the complexity of their composition and their visionary character marks (which they share with the subsequently completed piano sonata Op 101) the start of Beethoven's "third period".
The critics of the time, often perplexed by Beethoven's last compositions, described the sonatas in terms such as the following from the Allgemeine musikalische Zeitung:
"They elicit the most unexpected and unusual reactions, not only by their form but by the use of the piano as well…We have never been able to warm up to the two sonatas; but these compositions are perhaps a necessary link in the chain of Beethoven's works in order to lead us there where the steady hand of the maestro wanted to lead us."
This sonata consists of three movements. While this sonata is more accessible and conventionally structured, the concluding fugue prefigures the fugal finales of the Hammerklavier Sonata and the late string quartets."
- Wikipedia 2020
Performed by Mischa Maisky and Martha Argerich
Allegro con brio - 00:05
Adagio con molto sentimento d'affetto - 06:32
Allegro fugato - 15:07

[@leonhardeuler6811]

16:42 12 Tone row
16:21 Tone row again
16:21 Dissonances: Very linear writing in the fugue.
16:29 Possible augmentation of scalar portion of subject in the bass
16:37 Inversion of both subject and countersubject.

[@656520]

In three beats (108 - 110) , interesting observation.

[@Sam-tj9np]

Its rare to hear from Beethoven a "normal" fugue and this finale is one of them.

[@leonhardeuler6811]

Yes, it's quite an amazing fugue. The amount of technical and thematic economy is ingenious. In many ways it is like the Hammerklaiver in that almost every motif introduced receives its own thematic and contrapuntal treatment (strettos, inversion etc).

[@leonhardeuler6811]

Also 16:30 is a theme from the Hammerklavier and right before that Beethoven plays with the scalar portion of the main theme in augmentation

[@AlephNeil]

This isn't exactly a "normal" fugue. It's a fugue very similar to the ones in Beethoven's late piano sonatas (*especially* Op. 101) and totally unlike any fugue of, say Bach or Mozart.

[@leonhardeuler6811]

@@AlephNeil I've always wondered why people say Mozart and Bach fugues are even remotely similar. Bach fugues are far better in terms of Linear writing than, say, Mozart's C minor fugue (which is most likely on purpose). The only fugue amongst the big three that matches Bach's Linear writing skills is Variation 24 from Beethoven's op 120 imo.
Edit: and some Choral fugues from Mozart, although for solo piano, Beethoven is second next to Bach, by a long shot
In any sense, when the op said a "normal" fugue he/she was talking about that linear writing which is nessesary given this is a acompanied sonata.

[@jovanalsti]

11:11. Beethoven writes the theme to the movie "Gone with the Wind"

[@jihongadams-park6717]

haha

[@mosz1854]

Perfect !! Wonderful Rendering ~

[@user-dq5ui5nh5y]

15:06 amazing…

[@prof.jasonsaid2718]

These works by the great master are a must to evolvement of the gigantic structure and ideas that works as the estuary Bridge between earth and its troublesome and suffering to Beethoven's heavens where we discover the calamity between our outer and inner selves . great performance here

[@sama.4471]

Amazing slow movement!

[@vid4622]

素晴らしきフガート！！

[@agseu3668]

Esta música extraordinária traz-me à memória a agonia do meu pai, que acompanhei, e a distância a que então me encontrava de mulher e filha. Era o meu bálsamo diário.

[@georgenorris2657]

The pianist certainly obeys the dynamics but sometimes he forgets he´s playing with a cellist. I know that both instruments are equally important but I´m less sure he does. It´s an astonishing work and, in the final movement, I was often thinking about the grosse fuge, They inhabit a similar soundworld of white hot intensity.

[@themoonfleesthroughclouds]

Based

[@hermitcrab6923]

ピアノ泣かせのチェロソナタ

[@McApplePie]

Came from the book A Little life

[@emmaelisabeth4799]

Wait what? Was it somehow mentioned in it?

[@ClassicalMusic-ds9yt]

موومان سوم حال و هوای فیوگ سونات هامرکلاویر رو داره..

[@pdr770]

הנוראות שאבי סבל ומלכותו עם 4 ו5 מתחיל ב3. וסיום ב4 1 וב3 ו1 מסתיים ב3. איטי יותר ורגוע בסוף.

[@Rickriquinho]

This is so boring...

[@FirstGentleman1]

I find this anything but boring. Don't you like Beethoven in general?

[@Rickriquinho]

@@FirstGentleman1 Beethoven is a giant of humankind but he is also highly irregular.

[@andreapetterini6527]

@@Rickriquinho look at 12:10

[@ezequielcamacho5956]

Because you didn’t understand the music haha

[@Rickriquinho]

@@ezequielcamacho5956 Exactly!