Last summer when I was in the process of searching for music to tackle in the upcoming school year, I stumbled across Beethoven's Piano Sonata in D Major, Op.10, No.3 very randomly. I picked it up, skimmed through it for about 10 seconds and then went to purchase it, shortly after that I began building a deep admiration for it. It is my favorite of Beethoven's earlier piano sonatas and was my favorite at that point until I stumbled across the Hammerklavier, Op.106 and the Op.110 Sonatas.

Published in a group of three, the Op.10 sonatas represent a rather experimental journey in Beethoven's life, in which he was seen moving away from his earlier models. The biggest of the three is without a doubt the latter No.3 in D Major and was probably the best sonata Beethoven composed until he reached the F Minor, "Appassionata" Sonata No.23, at least in my opinion. Yes that means I looked over the "Pathetique" and "Moonlight" Sonatas.

It was dedicated to Countess Anne Margarete von Browne, and written in 1798.
First Movement


The First Movement gives away early meaning to the word "epic." It is a simple movement when examining the motive, four descending notes. There are two episodes which respond to the opening. The first one sweet and "dolce" like while the second one deems brilliance, both starting with interlocking repetitions of the opening motive. A brief dark and playful transition halves the movement which then moves into a wonderfully colorful second subject, that once again eludes to the opening four notes.

Second Movement


It is in the second movement, a contrasting D minor, that we see Beethoven in his first tragic form. With reference to the company of the painful adagio of the Hammerklavier Sonata Op.106, the Largo e Mesto movement are two of few true, and profound full length minor movements Beethoven composed for solo piano. One can immediately connect with the tragic journey about to start with the opening motive. It feels at some points like a celebrated funeral march with brief inserts of previous material from the opening movement and mild episodes in F major. The Coda is the movement in its most turbulent nature with the theme now in the bass. Above is a harmonizing right hand which joins the bass as the movement commands itself upwards through a remarkable construct of parallel diminished chords. The intensity and great outburst of power than gradually disappears and the opening motive returns, even smaller than the opening. The ending stands as one of the most creative closes he wrote.

It is with this movement, I found the most admiration for the Sonata, it's a true delight to perform.

Third Movement


After such tragic gloom only moments before, Beethoven needed an immediate contrast of emotions. The Menuetto quickly casts aside the tragedy with a warm, humble tune back in the home key of D Major. Its noble character is built, casually disregarded as Beethoven enters a contagious contrapuntal section which builds momentum into the return of the main theme, all of a sudden appearing with more energy that fades away. The Trio, finds all nobility thrown aside as Beethoven frolics again with a dance in an awkward, almost rough but good-natured manner. "His inner grace shines through his outer roughness." --Anton Kuerti.

Fourth Movement


One finds Beethoven at his wittiest in the Rondo. It is humorous in its approach and construction, whilst being profound with its immediate theme and development. Simply put, Beethoven exerts his cleverness in a movement full of surprises.

Finally, to end with a quote:

"Listening casually to Op. 10 No. 3, one would be struck by a certain operatic glamour, a cool clear brilliance and a sumptuous variety of moods and ideas. Listening more attentively, one will be astounded to note how very parsimonious Beethoven has been. Especially in the outer movement, almost all the thematic material is derived from short, concentrated motives. This reflects Beethoven's growing determination to provide logical, meaningful interconnections to bring together a work." --Anton Kuerti

The Sonata was performed by Claudio Arrau at the Teatro Municipal de Santiago de Chile on May 16, 1984.