Sonata No. 15, Op. 28, “Pastoral”

The Sonata in D Major, Op. 28, known as the “Pastoral,” is often seen as a retreat to the familiar four-movement structure that Beethoven used in some of his early sonatas. After the innovations of the two Op. 27 sonatas, Op. 28 shows that Beethoven had not yet exhausted the possibilities of a highly traditional form. Despite the differences between Op. 27 and Op. 28, Beethoven appears to have worked on all three sonatas at the same time in 1801, an incredibly fertile period in his life.

The Op. 28 sonata was nicknamed “Pastoral” by Beethoven’s Hamburg publisher, and the last movement especially seems rustic in character. The lilting rhythm of the finale ( 4) could almost be mistaken for a bagpipe accompanying a country dance.

Though perhaps less rustic than the final movement, the first three movements of the sonata generally fit within the pastoral metaphor. The first movement ( 1) is peaceful and sunny, while the second ( 2) features a dark, austere melody over a staccato accompaniment. The sonata’s third movement ( 3) is a playful scherzo that begins with a single note played in four different registers, and moves quickly into a trio that leads to the final rondo.