Scherzo

Beethoven's Op. 2 sonatas (1795) are dedicated to Haydn, who had been his teacher in the early Vienna years. The Sonata in A, Op. 2 No. 2 is the most playful of the three, and the third-movement Scherzo crystallises that wit: a fast triple-time movement with a contrasting Trio in the parallel minor, and the unmistakable Beethovenian habit of teasing the listener with sudden dynamic shifts and unexpected harmonic detours.

Technically the Scherzo tests three things at concert standard. First, articulation contrast: the score alternates between sharp staccatos, slurred legato fragments, and accented sforzandos, and each must be heard distinctly. Second, dynamic contrast: the p and f shifts are sudden — Haydnesque jokes — and need to be played as such, not smoothed. Third, the trio in A minor asks for a different colour: warmer tone, more legato voicing, before the da capo return.

Two pitfalls. First, students play the staccatos and accents at the same weight, losing the rhythmic comedy. Second, the Trio is treated as merely quieter; it needs a real shift in character — more sustained, more inward — before the bright Scherzo returns.

Listening: PD recordings of the complete Beethoven sonatas are widely available on Musopen and IMSLP audio. Artur Schnabel's historical recordings (now PD in many jurisdictions) are the canonical reference; Stephen Kovacevich and Andras Schiff (in copyright) calibrate cleaner contemporary readings.