Ludwig van Beethoven: Sonata No. 20 in G Major, Op. 49, No. 2 (1795/96)

The Complete Sonatas of Beethoven (Live)
Joel Schoenhals, piano
www.joelschoenhals.com
Eastern Michigan University
Pease Auditorium
September 20, 2013
Greg Knollmeyer, video production
www.video.gregknollmeyer.com/
Sonata No. 20 in G Major, Op. 49, No. 2 (1795/96)
Allegro, ma non troppo
Tempo di Menuetto
Two Sonatas Opus 49
These two sonatas were written between 1795 and 1798, but were published nearly ten years later in 1805 without the consent of the composer. Thus, the opus number is misleading. In performing the complete Beethoven sonatas chronologically, this is a more logical placement for these sonatas.
Entitled "Leichte Sonaten", meaning light or easy sonatas, they are the two shortest sonatas Beethoven wrote, each only lasting about eight minutes, and each only containing two movements. It is largely believed that these works were written for pedagogical purposes, and indeed they still are extraordinarily popular teaching pieces even today. At the same time, they make charming concert works and are models of Classicism in their elegance, simplicity, and balance.
Sonata No. 20 in G Major, Op. 49, No. 2 (1795/96)
Infamous for his meticulous attention to notating detail, Beethoven considered articulation markings, dynamic markings, and other expressive intentions to be essential to the work. It is no wonder that he did not consent to publishing this work, as it is largely lacking expressive markings so characteristic of all of his works. Nevertheless, it is full of Classical rhetoric, grace, and charm and shows the lighter, lyrical, and sweeter side of Beethoven that is often forgotten amidst the great stormy masterworks. This sonata is in fact very Mozartian. It's important to remember that Beethoven had hopes of studying with Mozart when he moved to Vienna, but instead studied with Haydn.
- Notes by Joel Schoenhals, 2013
Dan Harteau, piano technician
Concert Instrument:
This performance features Steinway Model D, serial number 213668. It was manufactured in the Steinway & Sons factory in Queens, New York on March 28, 1922. Presumably, it returned to the Steinway factory for additional work in the 1950s, as there are Steinway 100th anniversary medallions on the fallboard. Sampson R. Field, a former president of the New York Philharmonic and chairman of the Marlboro School of Music and Marlboro Festival in Vermont purchased the instrument in 1953. "Mr. Field headed the Philharmonic from 1978 to 1981 and was a member of its board for more than 20 years. He was an amateur pianist who occasionally played with professionals, and he worked for many years as a volunteer for several organizations that aided the growth and development of the careers of young musicians" (New York Times, obituary, 1991). AC Pianocraft of New York City acquired the piano and it was rebuilt in 2006.

[@dougthatcher3521]

Delightfuul, Joel. This old Union Band Parent from '90 enjoys your music!

[@JoelSchoenhals]

How cool. Thank you!! Hope all is well! Those were the good days.

[@galasvyato5096]

Супер!!!! Какой звук, как тонко, какой вкус!!!!

[@yidingma3787]

i love it

[@JoelSchoenhals]

Thank you!

[@joseluiscastellanosramirez8068]

Para nuestro tiempo y la posteridad

[@UnRoyaltycom]

Mistakes? Beethoven and other composers of the time wanted other artists to build and improvise on their works. It was never meant to be exact.

[@MisguidedKerbal]

ni mistakes

[@MichaelBB]

The first G major chord is not indicated arpeggiando. Now, since this piece is so devoid of most ALL indications, it ani't that bigga deal to me. Obviously this person can play. I play the tune legato, but to each their own, especially when it holds together. MBB

[@MichaelBB]

The whole thing is mostly dry. I play it smooth. but your thing works for you, so hey, go for it. MBB