interpreted by Maurice Cole
Sonata, Op. 27, No. 2 (the 'Moonlight')

Beethoven rarely gave titles to his pieces, and though the name 'Moonlight' is commonly applied to this Sonata, it is not his. When listening to music that does not avowedly follow a detailed 'programme,' it is best to consider any descriptive title merely as a possible means of stimulating one's own imagination, by suggesting to it one mood in which the music may be received, not as a dictatorial insistence that thus, and thus only, is the composition to be conceived.
It is obvious, as soon as we hear the opening of this Sonata, that 'Moonlight' might very well be the impression conveyed by the calm, dreamy opening of the First Movement. This Sonata's First Movement is simpler and shorter than usual. There follows a page, gentle and dainty, that is practically the Minuet of the normal Sonata. The Last Movement, in full 'First Movement' form, is far bigger than the other two, and has a fuller emotional life. After the restrained feeling of the opening Movement, and the gracious ease of the Minuet, something of a sterner nature is obviously in place as a Finale, and a wonderful Movement the composer evolves, full of passion and fire.
We want no worded clue to it; enough that here is dramatic life in the music, abounding yet concentrated, speaking to every attentive mind with the convincing force and truth of great art.