Cellist Lynn Harrell considers challenges and contemporary concepts in the first movement of a sonata conceived entirely in the imagination of a deaf composer. From January 2019
Beethoven’s Fourth and Fifth sonatas – op.102 nos.1 and 2 – ushered in a new musical language: at their time of writing in 1815, they showed the musical direction of the future.
There is the most wonderful moment in the first movement of Sonata no.4, at the beginning of bar 94, where Beethoven writes in A major in the piano part and D minor for the cello…
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