THE HARPSICHORD AS AN AESTHETIC LEGACY OF BEETHOVENS EARLY PIANO SONATAS

This article highlights the significance of the harpsichord and fortepiano in Beethovens early sonatas (in particular Op. 2), composed during a period of transition between the two instruments. The fortepianos lighter mechanism and broader dynamic range enabled Beethoven to explore expressive contrasts and articulations not possible on the harpsichord. However, the harpsichords Baroque heritage remains evident in his harmonic language and ornamentation. Features such as trills, mordents, and clear vocal lines reference the harpsichord tradition, even as they are reinterpreted through the fortepianos capabilities. This duality gives the early sonatas a hybrid identity, bridging Baroque idioms and the emerging Classical style. These works serve as a link between two musical eras, with both instruments marking a language in transformation.