Written in 1815, the two Sonatas op. 102 mark the transition to the often austere sonorities of Beethoven's late style. One reviewer of the original edition noted in 1818 that they doubtless number among the most unusual andpeculiar things written in a long while. Proceeding from the established Classical schema, here Beethoven explores possibilities for changing and expanding sonata form, which make Opus 102 the capstone of his cello oeuvre. In theSonata in C-major, unusual elements emerge in t