The Late Sonatas

Beethoven, 1823

Mitsuko Uchida

on the late sonatas

Thomas Adès

on Op. 101

Jeremy Denk

on Op. 106, “Hammerklavier”

András Schiff

on Op. 106, “Hammerklavier”

Pierre-Laurent Aimard

on Op. 110

Critics initially regarded Beethoven’s late compositions as indicative of the composer’s illness or even madness; today they are often considered the deepest expression of his genius. By the time he began composing his late-period piano sonatas, he was almost completely deaf and had probably realized the impossibility of finding a companion. As he had done previously, Beethoven used his isolation and despair to reinvigorate his commitment to composing. Referring to himself, he wrote, “for thee there is no longer happiness except in thyself, in thy art.”

Because Beethoven’s deafness made communication with others increasingly difficult, his late music is often considered his most autobiographical: Music had become his only means of expression. Beethoven described the Op. 101 sonata as “a series of impressions and reveries.”

While the late sonatas represent an increasingly radical departure from tradition, they also draw deeply on certain parts of the musical past. Even as they move away from Classical concepts, the late sonatas often incorporate fugal elements and strict counterpoint. The result is an unparalleled synthesis of old and new styles that is at once timeless and revolutionary.

Featured Sonatas

Opus 106, “Hammerklavier” ›

Opus 110 ›

Opus 111 ›