Sonata for piano and horn or violoncello (F major) op. 17

Beethoven composed his only sonata for horn at the beginning of 1800. Johann Wenzel (Jan Václav) Stich, alias Giovanni Punto, the most famous horn virtuoso of his day, spent some time in Vienna. He probably got to know the composer at the home of Count Deym. Beethoven composed the Horn Sonata especially for Punto's academy in the Kärntnertor-Theater on 18 April 1800. Punto was a virtuoso whose elaborate technique helped to increase the horn's range of sound. Around 1800 the horn was still a natural-tone instrument without valves. Chromatic notes, which varied from the natural-tone sequence could only be produced by special techniques such as stopping (altering the column of air in the instrument by putting the right hand in the bell) or certain attacking techniques. These 'special notes' were often created at the expense of sound quality. Punto was one of the few hornists famed for evenness of tone and masterly control of all notes. Beethoven exhausted Punto's abilities and gave him every possible opportunity to display them. He composed a sonata especially tailored to suit him and performed it many times in public and private concerts together with Punto. However, this personalisation had some disadvantages: who would be able to play such a technically demanding work other than Punto? It was perhaps for this reason that a year later, in March 1801, the publisher Mollo not only published a version for piano and natural horn, but also included a cello part, thus greatly increasing the sales potential of the work. It is not certain whether Beethoven made the cello arrangement himself. He did, however, at least approve of it, as he would otherwise have publicly rejected it. (J.R.)