The piece is one of Beethoven's most famous compositions for the piano, and was quite popular even in his own day.[1] Beethoven wrote the Moonlight Sonata around the age of 30, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.[1]

The first edition of the score is headed Sonata quasi una fantasia ("sonata almost a fantasy"), the same title as that of its companion piece, Op. 27, No. 1.[2] Grove Music Online translates the Italian title as "sonata in the manner of a fantasy".[3] "The subtitle reminds listeners that the piece, although technically a sonata, is suggestive of a free-flowing, improvised fantasia."[4]

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Many sources say that the nickname Moonlight Sonata arose after the German music critic and poet Ludwig Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne.[5][6] This comes from the musicologist Wilhelm von Lenz, who wrote in 1852: "Rellstab compares this work to a boat, visiting, by moonlight, the remote parts of Lake Lucerne in Switzerland. The soubriquet Mondscheinsonate, which twenty years ago made connoisseurs cry out in Germany, has no other origin."[7][8] Taken literally, "twenty years" would mean the nickname had to have started after Beethoven's death. In fact Rellstab made his comment about the sonata's first movement in a story called Theodor that he published in 1824: "The lake reposes in twilit moon-shimmer [Mondenschimmer], muffled waves strike the dark shore; gloomy wooded mountains rise and close off the holy place from the world; ghostly swans glide with whispering rustles on the tide, and an Aeolian harp sends down mysterious tones of lovelorn yearning from the ruins."[7][9] Rellstab made no mention of Lake Lucerne, which seems to have been Lenz's own addition. Rellstab met Beethoven in 1825,[10] making it theoretically possible for Beethoven to have known of the moonlight comparison, though the nickname may not have arisen until later.

By the late 1830s, the name "Mondscheinsonate" was being used in German publications[11] and "Moonlight Sonata" in English[12] publications. Later in the nineteenth century, the sonata was universally known by that name.[13]

Many critics have objected to the subjective, romantic nature of the title "Moonlight", which has at times been called "a misleading approach to a movement with almost the character of a funeral march"[14] and "absurd".[15] Other critics have approved of the sobriquet, finding it evocative[16] or in line with their own interpretation of the work.[17] Gramophone founder Compton Mackenzie found the title "harmless", remarking that "it is silly for austere critics to work themselves up into a state of almost hysterical rage with poor Rellstab", and adding, "what these austere critics fail to grasp is that unless the general public had responded to the suggestion of moonlight in this music Rellstab's remark would long ago have been forgotten."[18] Donald Francis Tovey thought the title of Moonlight was appropriate for the first movement but not for the other two.[19]

The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation",[citation needed] mostly by the left hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo (pp) or "very quietly", and the loudest it gets is piano (p) or "quietly".

The adagio sostenuto tempo has made a powerful impression on many listeners; for instance, Berlioz commented that it "is one of those poems that human language does not know how to qualify".[23] Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance".[1] The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things".[24][25]

The modern piano has a much longer sustain time than the instruments of Beethoven's time, so that a steady application of the sustain pedal creates a dissonant sound. In contrast, performers who employ a historically based instrument (either a restored old piano or a modern instrument built on historical principles) are more able to follow Beethoven's direction literally.

Modern popular music pianists have included core motifs of the piece in their adaptations. Examples include George Shearing, in his 'Moonlight Becomes You,' on his White Satin album and Alicia Keys's 'Remixed & Unplugged' version of her Songs in A Minor album.

In July 1975, Dmitri Shostakovich quoted the sonata's first movement in his Viola Sonata, op. 147, his last composition. The third movement, where the quotation takes fragmentary form, is actually called an "Adagio in memory of Beethoven".

A wonderful video sprang across my YouTube feed a few days ago. All the information in the video was news to me -- essentially, the claim is that we've been playing the Beethoven "Moonlight Sonata" the wrong way for two centuries, inspired by a poor nickname that really doesn't fit the piece at all! The professor's fresh interpretation of the first movement at the end of the video suddenly inspired me to try to orchestrate the piece, as I was having a lot of interesting ideas I thought I might try in order to create a really unorthodox interpretation. Before this week I had always thought Moonlight was a sort of cliched piece, but the professor brought it back to life and showed me it's famous for a reason....

The work was surprisingly quick, even though I was also trying Musescore 4 for the first time. Figured I'd give it a whirl on a short side project rather than a main composition. (Spoiler: it's actually pretty awesome. The sounds are amazing.)

My overall aim was to recreate some of the tragic funeral march character that is usually lost in most modern interpretations, but also to emulate the "ghostly" quality of which Carl Czerny spoke. I've accordingly created more active, dense, even "smeary" textures instead of transparent and simple ones. Overall I want to kill the whole notion that this piece is supposed to be "relaxing"!

This was a great orchestration challenge for me. Some of the creative decisions I made were born of necessity; others were just pure indulgence on my part. I actually took a lot of liberties; the piece is faithfully adapted insofar as the overall structure and proportions are preserved, but I freely modify harmonies and add new voices and contrapuntal layers where I see fit.

Yes you are right, the original intention of the movement should be faster than many of the modern interpretations. I think Jando's choice of tempo quite fitting to the original intention, what do you think?

I think adding the extra tremolos in section B makes the music more exciting and less serenely sad. The excitement in section D you added with the added layers and faster rhythmic notes for me is not fitting to the original version and intention, since it's more cinematic here, but to be treated as a new arrangement it's quite creative. Maybe I'm too used to the original version that I don't like any subsequent arrangement of it and that's personal. The sound is good, but in a different way than the original version, and the mood is changed to a more broad texture. Thx for sharing!

Like I said, I took a ton of liberties, and I wasn't directly shooting to recreate the original intention perfectly, per se ? I just wanted to get the listener into that same kind of headspace, rather than the typical "calm relaxation" crap we hear a lot associated with this piece.

Wow, I love this. I've come across that video a couple years ago as well, and thought that it would be so nice with a quicker tempo. I made a half-hearted attempt back then to arrange it for guitar and violin (for my brother and me) and give the guitar the arpeggios as the background instead of the melody how it is often performed on piano.

I think you have done a fantastic job arranging it for orchestra. I like the "usual" version of the moonlight, but this is like a different version, a different piece almost, and it brings out such a different character. Would you mind if I show this recording to friends, or did you maybe put it on youtube? Definitely going to credit you.

My comment won't go down well although it's sincerely meant. For a start, the movement is too fast. Secondly, highly pianistic, reliant on the percussive "envelope" of piano tone. Too easily here, the orchestra or orchestration cloy up, removing any feeling of delicacy for me, especially when brass came blasting in. Sure, it's a sustained piece but the sustaining is done by the decay-release of the piano itself. 152ee80cbc

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