Three sonatas from 1800/1 marking a period of formal experimentation. Op 26 replaces traditional sonata form with variations, a scherzo, a funeral march—later orchestrated by Beethoven—and a moto perpetuo finale, while the two Op 27 sonatas are conceived as continuous structures, shifting structural emphasis to their finales. The second of these is of course the famous ‘Moonlight’ Sonata, though the title is not Beethoven’s.