Beethoven: Sonata No.6 in F Major, Op.10 No.2 (Lortie, Jando)

For some reason (probably its diminutive proportions?) the 6th sonata has acquired a reputation as one of B.’s less important sonatas, when any reasonably objective look will show that it really is one of his best. For a start, the first movement bursts with innovative touches: the lush lyrical sonority of the first theme of the second theme group (which implies maj7 harmony), the really unexpected harmonic turns (at 0:17 we get a really abrupt transition from F to E, and then, this time completely without preparation, we move from E to C – a pretty radical treatment of the usual transition between two theme groups), a development section which doggedly avoids all connection with the exposition with the exception of a microscopic ending phrase, and a recapitulation that begins in D(!), a key so far removed from F that it sounds like a lot of the tonal tension that ought to be in the development has decided to accrete there.

The second movement continues this sonata’s typifying feature of experimentation with sonority: it’s technically a kind of minuet/trio, but texturally is something more like a doleful bagatelle, again with beautiful textures at the return of the minuet. The last movement is just one of *the best* things B. ever wrote – a roguish, scampering, hyper-orchestral thing that never becomes anything like properly fugal yet sounds a lot like a fugue, and which contains sudden windows of translucent, luminous color: see 11:54 and 12:26, for instance. I find this final movement kind of earwormish, in fact, but that might be just me.

MVT I, Allegro
00:00 – Theme Group 1, containing two themes: the first short and angular, the second long and lyrical. The restatement of the first theme suddenly slips into E(!) maj.
00:21 – Theme Group 2, Theme 1, now blithely on C, which then modulates to G. At 0:34 dominant preparation, which is surprising as the key is already clear
00:42 – TG2, T2. Its closing uses the turn motif (M1) from the opening theme
01:02 – TG2, T3 (cadential theme). At 1:13 the closing three notes constitute M2
DEVELOPMENT
02:29 – M2, in A min, then in D min in bass with new counterpoint (x) above. Parts swap.
02:40 – Development Theme. D min – C min – Bb
03:00 – M2 + (x)
RECAPITULATION
03:26 – TG1, in D(!), a key more remote than any reached in the development. The repeat at 3:42 moves wistfully in to G min, then into the home dominant. The turn motif now repeats several times before TG1, T2 enters in F
03:58 – TG2, T1. At 4:08 theme is extended in F min, then Ab. The point of the “purposeless” dominant preparation (0:34) in the exposition is now revealed, for it now enters to right the course of the sonata by insisting on C.
04:26 – TG2, T2
04:47 – TG2, T3 (cadential theme). Note how its closing segues seamless back into the beginning of the development

MVT II, Allegretto
07:37 – Menuet. Middle strain at 7:52, with imitative counterpoint
08:55 – Trio, with a surprising amount of development. Closes in bare octaves moving into dominant
10:30 – Menuet, with some particularly beautiful variation (primarily syncopation, some changes in melodic direction, and fuller LH). Note the close on forte, rather than the original piano.

MVT III, Presto
EXPOSITION
11:17 – Theme 1. First two bars with M1, second two with M2.
11:32 – Theme 2 (Cadence). Note M1 in inner part
DEVELOPMENT
12:02 – Compound of M1+M2, rising in Ab. At 12:04 T1 in Ab.
12:07 – T1, with LH following RH in 3rds. M2 is then developed imitatively. Bb min/F min
12:14 – M2 dialogue with itself in RH. C min/G min/D min. At 12:22 preparation on dominant of D min
12:26 – T2 in A, with its bass now prominently in upper voice. Descends sequentially to
RECAPITULATION
12:39 – T1, with running counterpoint, and later diverted into G min/Bb/Bb min. at 12:58 sequence is initiated leading back into F
13:05 – T2 (extended into a kind of coda)

[AshishXiangyiKumar]

Lortie:
00:00 – Mvt 1
07:37 – Mvt 2
11:17 – Mvt 3
Jando:
14:46 – Mvt 1
20:26 – Mvt 2
24:36 – Mvt 3

Lortie is as he usually is: lyrical, attentive to all sorts of color and detail, with some really fantastic dynamic tiering and voicing (see 13:10 and the way he adds a swell to the middle of the phrase at 11:55), and a lovely way of shaping long phrases (especially in the first two movements). Jando is slower (especially in the last movement), drier, but his contrasts are more granitic and biting, his staccati more sharply chiseled (the last movement has a pointillistic feel at parts). There’s some great voicing in his playing too: see 24:10 for one example.

[Papa-T-]

I have to agree with you--this sonata deserves 'WAY more attention than it gets. I think it's a great example of Beethoven's humor. In the first movement, as you say, he has a string of very charming themes, yet when he gets to the development, he just keeps obsessing over that little three-note cadence thing at the end of the exposition. And then he does one of his famous key-switch tricks, recapitulating in the wrong key, then scrambling to get back into the right key. The second movement is as close to a slow movement as a scherzo is ever going to get. And the last movement is just plain old bumptious fun! This is one of my favorite Beethoven sonatas, and i've studied a lot of them.

[rinnswimmer]

I regret not finding this channel earlier. I am a visual learner and I can’t describe how helpful it has been to have the audio, visual sheet music, amazing program notes, AND multiple versions of each song I’ve listened to on here. It has helped me to appreciate so many previously unknown songs and pick new songs to learn.

[burakunsal]

The beginning melody of the menuet fills me with such longing, it is so elegant. It is like he is trying to reach to some happy place in the high notes but keeps getting pulled to earth.

[TempodiPiano]

I have known this sonata for twenty years... It's the first time I found the second movement so romantic, so soft and profund.

[dedikandrej]

Holy... it's so easy to get hooked onto the last movment

[grunklesam]

This is such a silly piece. There’s so much random stuff that just appears out of the blue, but still sounds really good. I like it a lot.

[livinginpalosverdesca]

This was one of my pieces for my high school senior recital.

[PieInTheSky]

Loving playing this, the first movement is especially physically satisfying to play.

[howardchasnoff]

Ashish Kumar thanks for pointing out the unusual key changes here and in other sonatas. Sometimes they are abrupt and shocking other times a simple tonic to dominant or the reverse is done artfully going through an interesting path. This increases the listener's appreciation of structure and form. Surprises are always notewothy. Starting the recap in D with a change in key signature surely is unusual..

[TxRxAxP]

I love this guy's channel. He's one of those YouTubers I always watch but never pay attention to the name and a makeshift one forms in my mind and when I finally read it I'm blown away.
Another example,
Marioverehrer or Kurzgesagt – In a Nutshell

[LouisEmery]

My daughter is studying mov 2 and 3 for RCM. I discovered the Presto because of her. I play it at half speed to understand it. Beautiful.

[BryanHo]

I just love the third movement. It’s almost like a Scarlatti sonata or a Bach invention on overdrive.

[romulo-mello]

Very good! Excellent scores and great choice of recording. The clarity and finger control on the Lortie's recording is something you don't see every day!

[im.claire]

My friend played this and it’s so beautiful, I especially love the second movement ❤️

[אורירימון-פד]

i can't get this out of my head, i love this piece so much (don't understand much in music, but i find it amazing)

[lillianli]

This Sonata is so good but people underestimate it🙁

[Musicman]

Just noticed something. At the very beginning of the development in D minor, measure 68 of the first movement, in the left hand: Eighth note, eight rest, eighth note, ...QUARTER rest? 2:30

[christopherpratorius]

It doesn't slip into E major at the restatement of the opening theme, rather that's a half cadence implying A minor; you can confirm that by the usage of the G+6 chord at that cadence.

[hippotropikas]

The not-resolved-as-expected appoggiatura at 10:13 is amazing!