Piano Sonata No. 16 in G Major

Few works in Beethoven’s output better demonstrate the composer’s provocative sense of humour than his Piano Sonata No. 16 (1802). In the brilliant opening flourish of the first movement “Allegro vivace”, the piano’s melodic and chordal material in the right hand begins slightly ahead of the left hand, thereby creating a somewhat destabilising effect. To restore a semblance of pianistic coordination, Beethoven then unleashes a torrent of fast notes in both hands that covers the entire range of the keyboard. The fun and games continue with a contrasting idea—a boisterous dance melody that cannot make up its mind whether to be playful or more serious in mood. Beethoven also teases his audience in the ensuing “Adagio grazioso”. On one level, it’s a beautifully sustained and melodically expressive slow movement. Yet the ornate flourishes that decorate the main melody sound exaggerated, as if the composer is parodying an emotionally overwrought operatic aria. The finale (“Rondo. Allegretto”) boasts an instantly memorable and charming main melody, as well as easy-going charm. Just near the end, Beethoven injects an unexpected sense of urgency into the proceedings with a sudden speed change to a hyper-energetic presto. But instead of an emphatic resolution, the simply fade out like the dying sparks of a fire.