I have not put a text to these sublime Beethoven Sonatas!  What I have done (see i.e. "a Cure for the Romantic Virus") is analyze these works under the formal aspect of metrical/proportional analysis.  During the twelve years I worked on these three sonatas the "Soggetto Cavato", the text - beginning with Opus 101, then Opus 111, and last Opus 110 simply revealed itself to me.

Beethoven's so-called third period starts with the piano sonata Opus 101 and includes four more piano sonatas, the late quartets, the Missa Solemnis and the ninth Symphony. That Beethoven used a text for the last two works goes without saying; that he used texts as the matrix for at least three of these late-piano sonatas has remained a secret … up till now.

Opus 101

The identity of the Immortal Beloved unveiled.  The "unsterbliche Geliebte" is the mystery woman to whom Beethoven addressed an impassioned love-letter in 1812.  I found her name encoded in every single measure of the sonata.

Opus 110

Beethoven writes the date of completion in his manuscript: December 25, 1821. What a lovely Christmas present it is for baby Jesus! "Jesu meine Freude" is a motet by J.S. Bach.  Beethoven uses that text ("O Jesus, my Joy") and for good measure throws in the first line of Bach's melody as well. The text for the concluding  Fugue will be an added surprise!

Opus 111

A word separates the way generation upon generation of pianists have interpreted the first movement (I was one of them!) with Beethoven's true intentions. Commentators speak of "...a cry of agony" ..."Beethoven on his deathbed, clenched fists..." It turns out to be nothing of the sort, rather a joyous song of praise to the God who "has miche nie verlassen"/"has never deserted me," the God of whom Bach's Cantata says "Ein' feste Burg ist unser Gott" "A mighty fortress is our God."