Written in 1815, the two Sonatas op. 102 mark the transition to the often austere sonorities of Beethoven's late style. One reviewerof the original edition noted in 1818 that they “doubtless number among the most unusual and peculiar things written in a long while.” Proceeding from the established Classical schema, here Beethoven sounds out possibilities for changing and expanding sonata form, which make Opus 102 the capstone of his cello ouvre. The Sonata in D-major reflects Beethoven's preoccupation with traditionalcounterpoint; if in the opening movement his ingenious combination of extremely different themes elicits admiration, then in the “Allegro fugato” section of the finale we witness how he conjures from one simple theme the highest contrapuntal art. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of thesonata. Ian Fountain and David Geringas provide the fingerings.
