Masterclass: Lynn Harrell on Beethoven’s Cello Sonata no.4

Lynn Harrell main picture

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…

Already subscribed? Please sign in

Subscribe to continue reading…

We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.

  • Free 7-day trial

    Not sure about subscribing? Sign up now to read this article in full and you’ll also receive unlimited access to premium online content, including the digital edition and online archive for 7 days.

    No strings attached – we won’t ask for your card details

  • Subscribe 

    No more paywalls. To enjoy the best in-depth features and analysis from The Strad’s latest and past issues, upgrade to a subscription now. You’ll also enjoy regular issues and special supplements* and access to an online archive of issues back to 2010.

 

* Issues and supplements are available as both print and digital editions. Online subscribers will only receive access to the digital versions.