Ranking the Beethoven Piano Sonatas

I had so much fun with my Shostakovich symphonies list that I made a similar one for Beethoven's piano sonatas. I say "similar," because writing as much for 32 sonatas as I did for each of Shosty's 15 symphonies is a daunting prospect. So my blurbs here are briefer, usually limited to concise justifications. As before, I will try to balance appeal with the "greatness factor," at least in terms of how I perceive both to be at work. Enjoy. 

32. Piano Sonata No. 20 in G, Op. 49, No. 2

Look, I at least like every single Beethoven piano sonata, and love most of them. But something has to occupy the bottom slots. Let's face it, the two slight sonatinas of the Opus 49 set are easy victims. They're deceptively numbered (not at all contemporaneous with Sonatas 18 and 21) and written for amateurs (nothing wrong with that, but this limits their scope). Most incriminatingly, they were published without Beethoven's approval. No. 20 in G is a *nice* little piece, and not a bit more. 

31. Piano Sonata No. 19 in G Minor, Op. 49, No. 1

This one is surprisingly moving, so it rates above its opus-mate. But it's still a slender piece that is outclassed by nearly every other piano sonata Beethoven composed. 

30. Piano Sonata No. 22 in F, Op. 54

The first movement is just above dull. The finale is more interesting, and in some ways impressively written. But like the first movement it just lacks a strong emotional core. A weird little creation. 

29. Piano Sonata No. 25 in G, Op. 79 

Some very nice moments and ideas but mostly a piece of fluff. Nothing wrong with that, but it's got some stiff competition on this list. 

28. Piano Sonata No. 24 in F-Sharp, Op. 78 ("à Thérèse")

The "Piece for Thérèse" has its own special flavor. That puts it above the lowest items on my list. But in the end it is still rather slight compared with the more substantial sonatas in the cycle.

27. Piano Sonata No. 13 in E-Flat, Op. 27, No. 1 ("Quasi una fantasia")

The first of two Quasi una fantasia sonatas, both of which inhabit Opus 27. Their experimental character is obvious. But overall, and notwithstanding a vivid scherzo movement, the E-Flat has nowhere near the punch of its C-Sharp Minor brother. 

26. Piano Sonata No. 5 in C Minor, Op. 10, No. 1

A very likable sonata with a spunky finale. But somehow this one never hit me like some of the others have. It's one of the easiest to play, unless you truly take the finale at prestissimo. Maybe I've just heard the first movement too many times at solo-and-ensemble competitions. 

25. Piano Sonata No. 10 in G, Op. 14, No. 2

I ranked this as high as #25 only because of its gorgeous first movement. Savory stuff! Too bad the rest of it is comparatively snooze-worthy. (Seriously, movements 2-3 feel tacked-on somehow.) Also, this is one of four - count 'em, FOUR - Beethoven piano sonatas in G Major. That's 1/8 of them.  

24. Piano Sonata No. 1 in F Minor, Op. 2, No. 1

As far as first sonatas go, Beethoven's official one more than holds serve. True, it's not as imposing as the others in Op. 2. But it's a sturdy work that holds the listener's interest fairly well through four movements, and closes things out in suitably vigorous fashion. The only other F-Minor sonata in the cycle is the Appassionata. 

23. Piano Sonata No. 4 in E-Flat, Op. 7

At just about half an hour long Op. 7 is pretty large. Unfortunately, I find the inspiration too intermittent for its extended length. Great first movement, dull slow movement, lovely scherzo, and so-so finale. Maybe I should rank this higher? Eh. 

22. Piano Sonata No. 9 in E, Op. 14, No. 1

Okay, so now we're starting to see sonatas I consider to be more consistent. The Little E-Major here has pep in its step, with no true slow movement. (Instead we get a juicy Allegretto in the parallel minor!) The finale starts out being light and airy, but soon the listener discovers hidden depths. It's like stepping into a pool you think will be knee-high but is waste-high instead. Neat. 

21. Piano Sonata No. 27 in E Minor, Op. 90

I'm torn on this one. On the one hand, it's consistently beautiful and even moving at times. On the other hand, something seems off here...as if the scale is too big for the content. Or something. My impulse is to place this higher, but in every instance that impulse gets shot down by the sonatas I have above it. Hmm. 

20. Piano Sonata No. 2 in A, Op. 2, No. 2

A definite advance beyond Sonata No. 1. The Little A-Major mostly lives up to its ambitious scale and constitutes a strong entry in Beethoven's early catalogue. Not as inspired as its C-Major opus-mate, but assured and highly likable. I love how the rising figure in the finale's main theme gets increasingly elaborate with later repetitions. Quirky!

19. Piano Sonata No. 18 in E-Flat, Op. 31, No. 3

Another sonata without a slow movement. I'm up for it. Or rather, I'm up for the thrilling scherzo and finale, and mildly appreciative of the other movements. Like No. 6's finale, No. 18's has more than a dash of Haydn-like wit and humor. Fun to play and listen to!

18. Piano Sonata No. 6 in F, Op. 10, No. 2

Yet another sonata without a slow movement. The middle minuet is fine. The first movement is good. The finale is one of my favorites in the whole cycle. Another one I could easily rank higher. 

17. Piano Sonata No. 11 in B-Flat, Op. 22

Opus 22 is one of the best sonatas of the early period from the standpoint of structure, and how it consolidates the gains of earlier works. The trouble is that while other early sonatas sometimes don't match it in terms of craft, some certainly do (and more) in their isolated points of inspiration. I'd like both inspiration and craft to be present, but I'm choosing inspiration every time if I have to choose. Not that Op. 22 is "uninspired" – it's a wonderful sonata. I just don't find myself deciding to listen to it as often as many of the others. 

16. Piano Sonata No. 32 in C Minor, Op. 111

::Sigh::

The nerds and intellectuals adore Op. 111. But honestly, I'm a pretty lousy intellectual. And while I understand the arguments for this last sonata's greatness, I just don't particularly care for it. Too recondite for me. So, on MY list (as opposed to someone else's) it's at a respectable #16. Put it at #8 for geek appeal, and at #24 for how much I personally value it. Boom, 16. Happy average. 

15. Piano Sonata No. 12 in A-Flat, Op. 26

The reason this is ranked so highly is because of its astounding funeral march in A-Flat Minor. It's a rare classical-period instance of this key. (Another is the middle section of the second of Schubert's D. 946 pieces, which I adore.) But the other movements more than hold serve in what is an above-average early-period outing. 

14. Piano Sonata No. 16 in G, Op. 31, No. 1

Based on personal taste, this would be in my Top 5. On my previous blog, Op. 31/1 was the subject of the first post, entitled "Beethoven's Maligned Sonata." I borrowed the adjective from my former graduate professor, William Kinderman, who used it to describe the disparagement this sonata has endured at the hands of critics like Eric Blom. But I love its wit, humor, and melodiousness. (The tune in the finale is one of my favorites in any music, and makes a mockery out of the notion that LvB wasn't really a melodist.) Beethoven was allowed to smile and have fun, and so are we. 

13. Piano Sonata No. 15 in D, Op. 28 ("Pastoral")

Since I've put the Pastoral Sonata at #13, it might not surprise the reader to learn that its symphonic counterpart (No. 6) is one of my favorites in that cycle. But seriously, this is four straight movements of immersive loveliness...with a high level of craft throughout. Supple, melodious, and contemplative, with sunlit hues. Bask-worthy to the hilt. What's there not to like?

12. Piano Sonata No. 3 in C, Op. 2, No. 3

Okay, so this first C-Major piano sonata Beethoven composed doesn't match his other one in that key – the magisterial Waldstein. But Op. 2/3 might be the most accomplished and inspired in the series until we get to Op. 10/3. (It's arguably even a bit more consistent than the latter.) The standout movement is the second, an adagio in the surprising key of E. This has a magic I believe surpasses even that of the famous Moonlight Sonata's opening. Still an underrated piece. 

11. Piano Sonata No. 7 in D, Op. 10, No. 3

Oh man, this is SOOOO close to being a grand slam! Only a noticeable falling off of inspiration with the finale prevents that. What a rush if life with the opening movement, complete with so many little emotions and experiences along the way! Then comes one of Beethoven's most spiritual slow sections of anywhere in his output. A wonderfully melodious trio follows. And then...the thing runs out of gas! There are some scattered points of interest in the finale, but the whole thing is hamstrung by its lousy main thematic idea. Oh well, at least we have the first three movements; Op. 10/3 is easily great on their account alone. 

10. Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 ("Quasi una fantasia"/"Moonlight")

The iconic opening movement is fine and all, but the really riveting stuff is in the finale. The latter is a span of straight fire; it's as close to "Beethoven in a nutshell" as you'll get. A charming, almost trite middle movement serves as a buffer between these two centers of great emotional gravity - not the only time Beethoven does this. 

9. Piano Sonata No. 30 in E, Op. 109

In many ways the "Big E-Major" is an impressive sonata, and quite affecting. It doesn't quite hit me like most of the other late period sonatas, though. I ought to like it more than I do: it's got plenty of lyricism and tenderness, and I tend to cheer those things on more than some listeners. But there's a certain something that's missing, or only partially present, particularly when you compare it to Opp. 101, 106, or 110. And I don't think the reason is the lack of a giant fugue in the finale. Hmm. 

8. Piano Sonata No. 17 in D Minor, Op. 31, No. 2 ("Tempest")

I don't actually enjoy the Tempest Sonata quite as much as its high placement here suggests. For me the themes aren't particularly arresting. The reason I have it at No. 8 is because it's an historically important piece of music demonstrating what musicologist Carl Dahlhaus identified as the 'form as process' idea, wherein the form of a work comes into being as the result of innate potentialities in the opening material. I have to respect this kind of achievement, even when I am not moved quite as much as I'd like. 

7. Piano Sonata No. 8 in C Minor, Op. 13 ("Pathétique")

Without a doubt this is the summit of the early-period sonatas. It debuts the 'form as process' idea in the cycle, with multiple cross-section motivic links culminating in the rondo finale. The whole thing has passionate intensity that does not let up for an instant. There are no seams, and no "down spots." Although some Beethoven sonatas are of larger scale than this one, few to none provide a more consistent or satisfying listening experience. And so much of it is culturally iconic. 

6. Piano Sonata No. 29 in B-Flat, Op. 106 ("Hammerklavier")

In many ways this is the most impressive piano sonata that Beethoven composed. It is certainly the most imposing, and probably the most cerebral. The finale's fugue perennially amazes, and never fails to remind us that Beethoven's musical skill and imagination were light-years beyond those of almost anyone else. So why do I rank the Mighty Hammerklavier at Number 6? Well, like I've said: I give highest place to those works that both speak directly and impress intellectually. By those measures, Op. 106 is just a little too much in the weeds. 

5. Piano Sonata No. 31 in A-Flat, Op. 110

Although I like Op. 101 just a bit more, for my money Op. 110 is the all-around greatest of the late sonatas. It almost perfectly balances intellect with directness. Like the Hammerklavier, it has a giant fugue in the finale. But this fugue is somehow less aloof and more accessible without losing intellectual "cred." The "Big A-Flat" is almost like a down-to-earth Hammerklavier. Yes, that's a compliment. 

4. Piano Sonata No. 23 in F Minor, Op. 57 ("Appassionata")

Of all the great Beethoven piano sonatas, this took the longest to grow on me. The first couple of times I heard it I was like, "That's it? That's the famous Appassionata?' I guess I just found the opening movement too "preludey"...like it was building up to something that never quite happened. And the finale struck me immediately as impressive, but again I was waiting for a payoff that the quick concluding section never quite seemed to deliver. Silly me. Many years and recordings later I realize that "the journey is the point," as cliché as this sounds. Op. 57 has seeped into my being, and I now properly perceive it to be the colossus that it always was. 

3. Piano Sonata No. 26 in E-Flat, Op. 81a ("Les Adieux")

Most people probably wouldn't rank this one so highly, but I find it absolutely compelling from start to finish. There's a sense of Romantic yearning in every theme, with splendidly worked out transitions. It's not a long sonata, but every moment of it rivets me and tugs at my heartstrings. The Farewell-Absence-Return dynamic succeeds resoundingly. One of Beethoven's most beautiful creations. 

2. Piano Sonata No. 28 in A, Op. 101

My favorite of the late sonatas. Not only is the scale large, but there's a directness across all movements that you don't always find in the Third Period. This Big A-Major is ambitious while never getting lost in the weeds. From the start there's a certain poignancy, not least in what has to be the greatest scherzo movement in the cycle. Pathos and reflection, in every measure. 

1. Piano Sonata No. 21 in C, Op. 53 ("Waldstein")

I have this crazy conviction: Beethoven peaked with his second, "Heroic" period and not his third creative period. As Scott Burnham puts it in Beethoven Hero (Princeton University Press, 1995), the values of the Heroic Period became the values of Music. The span in Beethoven's catalogue from Opus 53 through about Opus 74 is an unprecedented, nearly uninterrupted series of white-hot masterworks. They would eventually capture the imagination of the middle class, which was an essential part of Beethoven's ascent to immortality. At the front of this unbelievable stretch is this piano sonata, dedicated to his patron Count Ferdinand von Waldstein. It set the tone for every sonata of similarly ambitious scale to follow. As far as I'm concerned, it was rarely (if ever) to be surpassed. A work of staggering imagination, The Waldstein Sonata is also a noble expression of humanity for all listeners sophisticated and unsophisticated alike. While the final version has a slight middle movement separating the substantial outer portions, Beethoven originally composed something longer to go here. This later became a standalone piece called the Andante favori, cataloged as WoO 57. I regret only that Beethoven didn't stick with his first impulse. But the Waldstein is great either way, and there isn't another sonata of his I would put above it.