Beethoven has thirty-two piano sonatas, varying in difficulty. The following is a brief list (from easy to difficult)

3 elementary sonatas, difficulty level ≤7

Sonata No. 20 in G major (Op. 49 No. 2)

Sonata No. 19 in G minor (Op. 49 No. 1)

No. 25 in G major Sonata "Cuckoo" Sonata (Op.79)

12 intermediate songs, difficulty level 8 to 10

Sonata No. 9 in E major (Op. 14 No. 1)

The arpeggio technique in the fourth movement of Sonata No. 1 in F minor (Op. 2 No. 1) is difficult

Sonata No. 10 in G major (Op. 14 No. 2) three to two The technique is difficult to master

Sonata No. 8 in C minor "Pathétique" (Op.13)

Sonata No. 5 in C minor "Pathétique" (Op.10 No.1) ) Fast tempo

Sonata No. 3 in C major (Op. 2 No. 3) This piece is written according to the structure of a concerto and has an orchestral effect when played. The fourth movement "Allegro" is both Ensure speed and clear pronunciation

Sonata No. 13 in E flat major (Op. 27 No. 10) and have flexible hands

Sonata No. 17 in D minor "Tempest" (Op. .31 No.2) The left hand must be flexible in the third movement of Sonata No. 6 in F major (Op.10 No.2)

D Sonata No. 15 in major "Pastoral" Sonata (Op. 28) The fourth movement is technically difficult

Sonata No. 24 in F sharp major (Op. 78) This is the sonata with more black keys among Beethoven's sonatas For this song, be sure to have firm fingers and clear pronunciation

Sonata No. 12 in A flat major (Op. 26)

Sonata No. 27 in E minor (Op. 90)

11 advanced pieces, difficulty level 10~12

Sonata No. 2 in A major (Op. 2 No. 2)

Sonata No. 14 in C sharp minor "Moonlight" Sonata (Op.27 No.2) Although the first movement is simple, it takes a lot of effort to bring out the artistic conception of moonlight

Sonata No. 11 in B flat major (Op.22) has a larger span. It requires a lot of finger independence

The first movement of Sonata No. 4 in E flat major (Op. 7) is difficult

Sonata No. 22 in F major (Op. 54) The final movement is relatively difficult

Sonata No. 7 in D major (Op. 10 No. 3) is even more colorful in fast speed

Sonata No. 18 in E flat major "Hunting" Sonata (Op.31 No.3) has high technical content

Sonata No. 21 in C major Dawn (Waldstein) Sonata (Op.53)

E flat major No. 26 Sonata "Farewell" Sonata (Op. 81a)

Sonata No. 16 in G major (Op. 31 No. 1) has high technical content

Sonata No. 30 in E major (Op. .109) The second half of the second movement and the second half of the third movement are difficult

5 very difficult songs, grade ≥12

Sonata No. 23 in F minor "Appassionata" (Op. 57 )

For the fugue in the third movement of Sonata No. 31 in A flat major (Op. 110), pay attention to counterpoint

Sonata No. 28 in A flat major (Op. 101) No. The four-movement polyphony technique is very difficult

The first movement of Sonata No. 32 in C minor (Op. 111) is difficult, and the second movement has the most complex rhythm and the most complex sound patterns among Beethoven's sonatas. A dense piece with extremely high counterpoint skills

Sonata No. 29 in B flat major "Hammerklavier" Sonata (Op. 106) is the most difficult of Beethoven's sonatas, even more difficult than Chopin's Piano music; it is also the longest one, with four movements totaling 1167 bars. The slow movement alone is even longer.

It exceeds the "Adagio" movement of the Ninth Symphony, and the final movement "Steadfast Allegro" develops the polyphonic technique to the extreme, with a broad theme and shocking counterpoint skills, and its length is even longer than before. Any standard, 385 bars long, until finally, the polyphony gives way to a formidable unison cadence. It is universally recognized that this work is the most difficult, most difficult, largest, most profound and most dangerous masterpiece among Beethoven's piano sonatas (perhaps all piano sonatas). For example: the opening tempo of the first movement has always been a famous headache for all pianists - the composer's own tempo mark is unmistakably =138 (138 half notes per minute). That's incredibly fast. Unfortunately, this is almost an impossible requirement on modern pianos with heavy keys. It is said that except for the great German pianist Schnabel's recording (recorded for EMI in November 1935) that truly achieved Beethoven's speed requirements, it seems that no pianist has been found who dared to take this risk. The general process is to slow down the speed (often around =120 or even slower) to make the music sound more "natural" and also reduce the technical burden. In a sense, this sonata is not "beautiful" - it lacks pleasant melody in many cases, and the sound is reckless and even clumsy. But on the other hand, the purpose of the music is in line with the classic definition of the aesthetic category of "sublime" (according to the teachings in the second volume of the German philosopher Kant's "Critique of Judgment"): First, its "volume" is extremely huge; Not only is it extraordinary in terms of length of time but also in terms of spatial density, so it has the "sublimity of quantity"; secondly, it embodies the magnificent spirit of overcoming huge obstacles, which makes people feel fear and respect at the same time, thus triggering "power". of sublimity". As far as the design of the sound structure is concerned, Beethoven fully and "thoroughly" penetrated all formal dimensions such as motive materials, theme construction, harmonic layout, counterpoint organization, tonal logic and even movement relationships. "Descending third degree" is the only, abstract core cell and constantly "explodes" the sharp semitone conflict between b and B. Its unrepentance and insistence on going its own way almost reach the extreme of "unhumane".