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)

• published: 07 Oct 2017
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