Sonata Form in Beethoven's Piano Sonatas - Thesis Example

? MASTER’S THESIS: (DEGREE AND DEPARTMENT OF THE SONATA FORM IN BEETHOVEN’S PIANO SONATAS By Chentian Xu A Thesis submitted to the faculty of The University In partial fulfillment of the requirements for the degree of Master of Arts In Music (Department) (University) (Date) 1.0 Introduction The classical period began around 1775 and ended in 1825. The name was derived from the approach the generation gave to art and literature. Classical and literal heritage of Greece and Rome developed keen interest and admiration in literature and art. A change in the scene by which music was written was realized. Initially, music domineered in courts and churches. Public concerts emerged in the music scene for enjoyment and entertainment for the commons. Developments in instrumental music made it equal and even at times superseded vocal music. Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven dominated composition of chorale music in the classical era. Advancement in music during the era was depicted in instrumental forms. The symphony, concerto, sonata and instrumental chamber music like the Beethoven string quartets became common.1 In the beginning of classical era, the harpsichord was replaced by the piano as a common keyboard instrument. Most composers used it to write most works including sonatas. The sonatas written had the same forms like those of symphonies, concertos and chamber works although they had three movements instead of four. Mozart’s piano sonatas were light and tuneful and therefore suited the piano that was available at that time. The piano model changed greatly from Mozart’s period to Beethoven’s time. Metal braces were added to the frame that permitted additional tension to the strings. This allowed the musical instrument to produce loud powerful sounds. Ludwig van Beethoven, a German, lived in the period of 1770 to 1827. He was a composer of instrumental music. Instrumentals he used were symphonies, the piano and string quartets. The music he developed from these instruments brought a transition from classical music to romantic style. His choral music formed part of repertoire with his Mass in D Major and Missa Solemnis taking key roles in traditional western music. Beethoven played an important role in development of sonatas. His main instrument was the piano. His piano sonatas are known by their numbers, key and nicknames. Beethoven wrote thirty-two piano sonatas which were longer and more profound than Mozart’s work. The piano sonatas contain repeated notes, characterized with sudden changes of dynamic level. His opuses are technically demanding, making use of high and low notes on the piano (Dale, 1954).2 Beethoven also composed wonderful overtures, chamber music works, concertos and vocal compositions. Despite being deaf, he wrote many outstanding music that has inspired today’s music. This paper discusses Beethoven’s sonata Op. 53 and Op. 57. 2.0 Musical Form Musical divisions are marked with letters designated from repeated melody, new presentation and contrasting material. Common forms encountered in instrumental music of the classical period include strophic form, through-composed, binary form and ternary form. Strophic form is a design used in vocal music, repeated in several different verses or strophes of words. Through-composed is a form that has no repetition of the large-scale. Binary form contains two parts in which the important sections are repeated while Ternary form has three parts focusing a return of initial music after a contrasting section. In the course of the return, symmetry and balance is achieved. This paper explores classical music through sonata and sonata forms of Beethoven. 2.1 Sonata and Sonata Forms Sonata has a long musical history, with an ever-expanding and ever-changing organism. Through its history, it contains borrowed features of other types of musical form and texture. The design is composed of various series of short movements like those found in one, long unbroken movement that resembles fantasy. The tone is expanded to two or more keys that are nearly related or strikingly contrasting. Sonata has three separate movements with an inclusion of other types of movement like the rondo and tempo di minuetto.3 2.2 Sonata Form or First-Movement Form Sonata form creates a principle used in concert music to develop themes of interest. The form is divided into three important sections whose mutual key relationship affects organization of movement.4 The sections are; exposition, development and recapitulation. 2.2.1 Exposition In this section, the theme for movement is presented by the composer. The first theme or theme group is normally in the tonic key. This is followed by transition or bridge that carries music from tonic to the relative major if movement is in a minor key or the dominant. This transition prepares arrival of the second theme. The transition is characterized with rapid figural patterns in the form of scales, arpeggios and melodic sequences. These forms of sequence produce a feeling of movement. The second theme must contrast the first theme. If the first theme was rapid and assertive, the consequential theme should be languid and lyrical. Expositions end with closing themes oscillating between dominant and tonic chords although there is no much concentration in harmony. Exposition is fully repeated after the final cadence. At this particular point, all characters of the piece have been met. 2.2.2 Development Development stage is a further working out of thematice material. The theme is described in detail, extended, varied or fully transformed. The developments are unstable and unsettling. Harmony modulates quickly from one key to the other. Towards the end of development stage, a retransition is captured. Tonal order is restored by stabilizing the pedal point of the dominant note. Immediately the dominant chord is struck, the tonic is restored, initiating recapitulation. For example in Mozart, the theme is broken, frequently modulated with an addition of countermelodies and inverts it. In recapitulation, the composer returns to the first theme characterized with transition. 2.2.3 Recapitulation Recapitulation ushers in the first theme and tonic key of exposition. It is not usually an exact repetition of exposition but portrays the musical events in the same order. The transition or bridge is normally rewritten in this stage. The movement must end in the tonic; therefore the bridge does not modulate to the relative major or dominant and stays in the tonic key. The listener captures a feeling of restoration to familiar surroundings and a sense of stability because all themes are structured in the tonic key. The stages provide great musical and emotional journey to the listeners.5 Beethoven not only adhered to the movement principle but moved it a notch higher in the development state. He closely knit the organic whole and brought the component parts into intimate mutual relationship. The structure became gigantic but plastic enough to cater for unlimited musical expressions ranging from human emotions to abstract ideas, for example; the Allegro of ‘Hammerklavier’ Sonata op. 106. It movement has compacted powerful rhythms, multiple changes in key and complicated fugal texture6. Sonata developed fully in classical era through instrumentation in three or four movements. It was divided into two; ensemble sonata composed of piano and other instrument and solo sonata of single instrument.7 3.0 Methodology Beethoven’s works require a set of guideline for effective interpretation. The content of his work are peculiar and more detailed than those of other masters. The peculiarity noted results from his pianoforte music related to idealism expression. For example, Sonatas Op. 22 and Op. 53 have formal development. The ways Beethoven reharmonizes and interweaves his musical ideas exemplify a formal development. A vivid example is found in Sonata Op. 10. In the first part of D-major, the little motive works continuously in a selfish manner to develop the first essential theme. This work reemerges in the subordinate theme, exciting all voices. As it grows, it turns into an eloquent bass theme; twining itself in the movement.8 In interpretation of Beethoven’s Sonatas, it is wise to look at his fingering and technique. Analysis of Beethoven’s sonata Op.53 and Op. 57 is based on several aspects. The aspects are rhythm, melody, tonality, contrapuntal treatment, variation technique, color-effects and expressive qualities. Beethoven’s sonatas draw interest in infinite variety and beauty in musical substance. The quality of piano style and unlimited range of expression reveal supremacy. 3.1 Rhythm The study of rhythm focuses on all musical elements, actions involved in the elements in producing effects of pace, pattern and composition of rhythm. Several factors influence rhythm and metric analysis. Metric analysis is important in structural composition of music. Rhythm and meter are important in improving quality of music through a range of effects.9 Rhythm undergoes transformation with functional consequences for intensity scale. Through this, delineation process, decline, climax and subsidence, stability and flux are created.10 3.2 Melody Melody is an essential element in music and possesses internal experience and memory, serving as an intimate accompaniment. Melody gives sense of place, reminiscence, pleasure, culture and sound. Melody is a way of expression for different societies. Melody in atonal music is the highest expression of atonal idea.11 3.3 Tonality Tonality is a formal system where the pitch content is thought to relate to a particular pitch-class of resolution. It serves as a structure for a piece of music.12 In the eighteenth and nineteenth century, tonality referred to a certain period in which tonal functions were practiced. The tonal system has a hierarchy in considering PC factors. Tonic is the focal point at which tonal successions are expected.13 Tonality is a term that relates to harmony of a musical piece. Other terms used are modality and atonality. Tonality focuses on homogenization of the key. Modality is harmony that originates from ancient Medieval modes while Atonality is modern harmony that avoids homogenization of the key. 4.0 Beethoven Beethoven’s piano sonata is grouped into three periods; the Early, Middle and Late periods. The Early period dates back to 1795 to 1799. He wrote piano sonata in A Major, Opus 2 in 1795 and Piano sonata in C Major, Opus 13 (pathetique) in 1798/1799. Piano sonata in C Major, Opus53 (Waldestein) written in 1803/04 and piano sonata in F Minor, Opus 57 (Appassionata) in 1805/05 formed the Middle period. In the Late period, Piano sonata in B-flat major, Opus 106 (Fur das Hammerklavier) and Piano sonata in A-flat Major were written in 1817/18 and 1821 consecutively. 4.1 Analysis of Beethoven’s Work The historical and analytical perspective of Beethoven’s work must be considerably approached. A once-used technique rule cannot be labeled in his work because Beethoven experimented an idea on a particular work never to repeat it again. This is evident in the analysis of Op. 106. It would be wrong to state that Beethoven’s late works were constructed by third relationships for harmony and melody.14 The fact that he used early ideas in late works cannot be ignored. He could incorporate an old idea to achieve the desired effect. This is found in clean textures of Op. 110. In analysis of his work in terms of the three main periods, it should be put to consideration that his sonatas flow consequentially. According to Charles Rosen, period divisions rule should not be applied in the study because no distinction exists between the three periods.15 The second and third periods have similarities.16 4.2 The Middle Period The middle period lasted for ten years from the year 1802. Beethoven’s work during this period fulfilled some elements that lacked in the first sonatas. He wrote a total of six sonatas which were larger than early works. Performance lengths were not significantly increased as less material encased repeat signs. During the second period, Beethoven revealed strong influence of the Greek classicism which was part of the Vienna Culture .17 4.3 C- Major Piano Sonata Opus 53: Waldstein Beethoven’s piano sonata No. 21 was dedicated to Count Ferdinand von Waldstein who was his friend and a benefactor. This sonata reveals many aspects of his musical style considered that it was the first sonata in the middle period and in particular for the piano. The sonata belongs to the region of tone play.18 The work opens with ‘allegro con brio in symphonic style. An Introduzione, ‘adagio molto follows and finally the colossal, brilliant rondo Finale. In its opening, the right hand starts lower than previous sonatas by a major third on C3 and E3. The right hand rhythmically locks the left hand, in steady quick eighths. This move produces a rhythmic drive that lacked in Beethoven’s early work. The left hand bass moves lower chromatically by half-step which is the root position of dominant seventh chord in measure 9. The first phase (m. 1-4) has three motives, with the third motive being closely related to the second. The first four bars contain material used to develop 302-measure movement. This motivic construction was overshadowed in his early work. Modification of these motives into complete themes and creation of new ones reveal growth of skill between Op. 13 and Op. 53. The first theme (m. 1-13) relies on the motive. The orchestra is imitated again through created orchestra tremolo achieved by same pitches just like in the first phase. The tremolo is used later to connect materials between major divisions (m.68). It is a transitional passage of 20-30 measures that is an extension of the motive, reoccurring in other sections of the movement. Op. 53 applies a chorale-style melody in the second theme found in m. 35-87. There is unity in overlapping materials in this work in comparison to initial ones like Op. 13.19 The first movement (1804) is in sonata form although movement is identified more than sonata form. The first theme is peculiar in the sense that it begins with a soft thumping chord repeated thirteen times before any change is made. At the end of the pattern are two short motive like figures. A repetition of the same idea is immediately evident although this time, the chords are broken. This makes the pitches sound after another but not simultaneous. From the first theme, the following comments are developed; a). The musical value of the theme is in its potential stage for development and it is not melodious. b). Beethoven wanted intensity of tone. He achieved this through sounding many tones since the notes used are not of length. c). A sense of eruption is depicted in the work because it starts softly, working up to short melodic figures. d). The theme style applied is only suitable for the piano but unfit for vocal melody. A change in the second theme reveals Beethoven’s technique in piano writing. Broken chords introduced breaks monotony. A pattern is seen in the way patterns of notes and scales come toward or separate each other in a beautiful manner. This is quite different from simultaneous chording and creates a contrast in the direction of pitch. This is called contrary motion. The second theme is developed in the remote key of E major. Beethoven daringly creates harmony by shifting the key to three notes higher. This begins in bar 42 and is accompanied by new accompaniment in triplets. As a result, he breaks down the traditional adherence to key schemes in early 1800s. The transition starts with triplet figures and taken over by sixteenth notes in bar 50. Codetta is developed with its own theme. In development stage, motives inculcated in the first theme is modulated, more triplet figures incorporated and music becomes quiet as it slowly builds up. The new melody enters bar 50, retaining accompaniment figure resulting into a transition. In recapitulation stage, the first theme is repeated, characterized with a short quiet interlude. The first theme is repeated but with a different accompaniment. The second theme returns immediately, repeated in minor and major consecutively as transition starts with triplet figures.20 Coda theme is developed in minor key but immediately repeated in the major key. Thereafter, motives from the first theme follows with frequent changes in key. The long chords are followed by pauses. When the second theme returns, it is characterized with quietness and pauses. The first theme returns in vigor as movements end with short and abrupt chords. After the second theme, the three notes to the beat take over and become the main thought in the codetta. Coda is expanded so that it does not end after closing theme but initiates the first theme into stage. The two motives are further developed. Although it resembles the first, it has an addition of rapid moving scale passages. Beethoven labeled the second movement as Introduzione because it is a short section that leads to the third movement. This second movement is classically balanced and well structured just like his early works. It consists of a simple ternary form defined by Rosen as arioso containing orchestral prelude and postlude. Despite its simple framework, harmonies and phrases are free. In any classical phrase, the number of measures is even in each phrase, commonly four or eight. The Introduzione Adagio molto is nine bars long. Just like the first movement, there is a linear progress in harmony, descending from tonic F by half-step to dominant C before triggering any leap. Beethoven uses surprising chords to harmonize the lowered bass. In the second measure, Beethoven shifts to an E major chord through an Italian borrowed augmented-sixth chord from A major. A smooth transition to a chord is achieved because of the augmented-sixth chord has an F in bass. There is a change in key to E minor which is a parallel of E major in the following measure. A leading-tone tonicizing B major in first inversion is developed from the change in key. The base line controls the unrelated chords until a full circle is created in the augmented-sixth chord native to F major. As a result, the melody returns to its tonic, and the dominant for four bars of cadence ends the prelude section. The harmony developed is non-classical but Beethoven resolves each foreign dominant-functioning chord. Through this action, he shows that he had not only rejected tonal harmony, but drew out its full potential. The phrase arioso follows, beginning with motive measure from 1. This step is chromatic as the down beat of each bar is maintained to be dominant or tonic. This phase ends like the cadence in measure 8 on the down beat of measure 9. Broken chord configurations have rests or longer note values in the first rendition in postlude although similar to prelude.21 Through Beethoven’s development, economic use of material is evident from exposition. Harmony in Op. 53 was achieved through progressions that involved an exchange between a triad and a dominant seventh. It involved two stepwise motions; the first several chords in the exposition are C major, D dominant seventh is in third inversion while G major remains in first inversion. B-flat major, D dominant seventh in third inversions, F major in first inversion and G dominant seventh motions are involved. This stepwise motion is found in the first movement as these chords are not leap approached. 4.4 F minor, Op. 57: Appassionata This sonata was written a year after Op. 53 and is a continuation of former sonata’s motivic construction, intensity and power. This sonata tends to delineate certain emotional states just like the picturesque ‘Lebewohl’in E flat major. Among the 32 piano sonatas, only two end tragically; Op. 57 inclusive. The first movement depends on two motives; descending triad, in a long-short-long rhythm and the fate theme which is a pattern of three notes of equal rhythmic value consequential by a note of longer value. These simple motives constructed the Waldstein. The first page of Appassioanata contradicts Beethoven’s earlier works. A rhythmic unison is achieved by hand just like Op. 53 which lies on two octaves that are apart in the first two measures. The end phrases are characterized by long rests. This feature lacked in the early period. There is a sudden change from pianissimo to fortissimo with a return. This type of dynamic landscape is more explosive than that of Waldstein. More details are included in the work than in the early period. This is evident in the first phrase that ends on a downbeat of measure 4 with a quarter note consequentially by an eighth rest. 12/8 becomes the time signature enabling the writing of dotted quarter notes. Beethoven repeats this precise effect and indicates it at each occurrence.22 Measure 1-4 in the first phrase outlines F minor (tonic triad) through the use of descending and ascending motive. The outcome of this movement is a cadence on the dominant. After the cadence, along rest and restatement in 4/5-8 measure (Neapolitan key) of G-flat major follows. The cadence now shifts to D-flat major. The same cadence is repeated in C major with a theme of fate observed through rests repeated on D-flat and C after a rest. A dialogue is noticed between the D-flat and C fate motive because of the reoccurrence of the cadence. This version of fate is prompted in the left hand while another in the right hand. As a result, a leading-tone triad, identified through poco ritardando and ppp is outlined. A forte descending arpeggiation of the leading tone triad erupts. This tone moves deceptively to D-flat major after first inversion earlier than the dominant in first inversion. A counterstatement of the theme starts again in F minor following a fermata on the dominant. Beethoven does not complete pianissimo theme after writing the first two notes of original statement. He avoids this by ascending treble chords against low, bass chords on F minor that are static. This creates a fortissimo and happens on tonic and twice on the dominant. The last measure 23 that is executed creates a common-tone modulation parallel to A-flat minor. The second thematic group is ushered in by 24-34 dominant measures. Materials used in connecting exposition and development stages in the middle period are more sophisticated than those in the earlier period. The connective passage in Op. 57 is similar to that of Op. 53. The connective passage overlaps emphasis on the dominant of A-flat major. With the same opening motive, a smooth transition is made into the second thematic group that takes place in A-flat major. The theme depends on motive reflected in rhythm and triadic contour. The next theme is found in A-minor. It is tied to fate motive because the notes responsible for melody production form a pattern of long-short-short-short-long. It is referred to as a non-thematic transition that descends in trio eighth notes. The relationship developed is not easily recognized although a sense of unity is detected between exposition themes comprehended by the ear. The A-flat minor triad serves as the basis on which the exposition comes to an end. The triad is found in the high treble as the bass courageously descends to the lowest A-flat which is a downward triad.23 Development section starts at the opening motive on A-flat minor respelled enharmonically as G-sharp minor. The chord is changes to attain a common-tone modulated to E major. When the 78th measure is modulated to E minor, the first theme is attained. The motive develops through C minor and A-flat major, covering five octaves. An alteration between the leading tone of seventh supertonic note in A-flat and the dominant ninth of A-flat dominant seventh marks the end of the section. The changes are noticed as chromatic steps in bass but not as functional chords. The second thematic group is found in D-flat major. This theme continues as an exposition until at the start of measure 113. At this point, a modulation to F-major is noticed. The modulation accommodates the chromatic base line on the rise. The chromatic baseline continues until 123rd measure and moves through B-flat minor, G-flat major and C major. Measure 122 to 123 serves as the last measures noted from C to D-flat. The harmony appears to be lost in the seventh chord that is rooted on E. This is the leading tone of original key. The harmony is repeated in seven bars, ascending and descending until it reaches D-flat in bass. In the transition phase into recapitulation, C is introduced as the final pitch into the dominant. The final pitch starts from the two bars of the fate motive.24 As recapitulation begins in measure 134, tonic harmony has no root. A brooding tension is created by repeated dominant pedal under the tonic harmony. The brooding tension makes the listener unsettled because of the forbidden relaxation of resume to tonic. The pedal is sustained through the first group and shifts to D-flat major. This shift creates a Neapolitan repetition of motive theme. A counterstatement occurs in measure 151-163 that varies the theme through the change in tonic minor to tonic major. This change creates an impression that the tragic tone will probably change. The theme is repeated in the dominant and on the leading tone twice. The triumph of F major is dispelled by this repetition while recapitulation continues normally, maintaining the second theme in F major and the third theme in F minor. The extended closing material unfolds the coda through continuation of arpeggios that form the first theme developed from tonic triad, D-flat major and the submediant. The base climbs chromatically from submediant key of D-flat major towards G-flat major. Original harmony is restored by seventeen measures of arpeggios through dominant ninth chord. Adagio and piano end with a fermata. In measure 239, Piu Allegro starts on the first theme, suboti fortissimo. In the finale, the tonic of the basic chords of the key are confirmed as the last measures on tonic triad diminish from piano to pianissimo. The second movement is a contrast of the first movement. It has slow variations in D-flat major and the simplest of slow movements written by Beethoven. The theme repeated in twice in eighth-bar phrases lack secondary tonalities apart from the transition that occurs towards the finale. The variations also do not change the form of theme. The outstanding feature in the variations is increased rhythm. The steady quarter rhythm is altered into eighths characterized by an offset bass. The second variation implores sixteenths for accompaniment material while the third variation applies thirty-seconds. The original theme is resumed through octave displacements in the fourth variation. The tonic cadence at measure sixteen is shifted to the leading –tone seventh chord of F minor which is a pianissimo with a fermata. A fortissimo is obtained from the diminished-seventh chord with a fermata and attacca l’ Allegro. 4.6 Critics on Beethoven’s Piano Sonatas Beethoven is recognized for his good piano compositions although his work has faced some critics. Beethoven failed to make his work accessible making him not to be highly ranked. This is vivid in the review done for Piano Trio (Op. 11). Critics find an avoided fliessend style that affects mannerisms. Beethoven often piled many ideas together in a bizarre manner that is infrequent and artificially obscure.25 5.0 Literature Review One of the question worth to answer is the ability to play Beethoven’s sonatas without passion. According to Mr. Fellner’s artistry, Beethoven’s sonatas demonstrate passionate fidelity to score as well as imaginative feeling of mystical dimension of music. In his performance, there is an exciting path-breaking sonata without a trace of romance. The performance revealed a suspended tension and violent outburst in the first movement. The tempo was maintained with sudden contrasts. The second movement is characterized with magisterial restraint with increasing variations of a chordal theme. Most pianists accept unrelenting intensity in finale of Appassionata but Mr. Fellner sustained the tempo to create a cagey intensity that reveals a colored and harmonious work of Beethoven. Mr. Fellner tears into the coda movement that is terrifying, creating a passionate effect.26 Beethoven paid tribute to his teacher to boast to Hadyn the experience he had in writing sonatas. His work can be described as virtuous, showy, inventive and astonishing. These qualities are captured by Mr. Fellner in his fleet, lucid and meticulous performance.27 6.0 Conclusion Each Sonata contributed to the progression of the Romantic period. Beethoven showed that classical form could be respected with the use of linear melodic use of the chords. He also used chromaticism to extremes knowing that he would always have the originally classical rules. It is interesting to note looking back in his memoirs the dissonance in Beethoven's time was composed by Spohr , a chromaticism without the diatonic framework but when Beethoven uses chromatic scales, he always resolved it into a tonic triad which was not done by the Romantic composer. The tonic is only established well after the movement has started. Beethoven differs from Haydn and Mozart in using the minor key to increase tension rather than they would use the minor key to relax. The 2nd motif (subject) is more lyrical, faster and linear and differed from the first motif.28 Bibliography Aldridge, G. & Aldridge, D. (2008). Melody in Music Therapy: A Therapeutic Narrative Analysis. UK: Jessica Kingsley Publishers: 10. Beech, et al. (1969). Analysis Symposium: Beethoven, Sonata, Op.53 Journal Of Music Theory, 13(2), pp 186-217. Berry, W. (1987). Structural Functions in Music. 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Introduction to The Interpretation of the Beethoven Piano Works. Calyton F. Summy Co. :127-128. Pembaur, D. J. J. (1915). Ludwig v. Beethovens Sonaten op.31 No. 2 op. 57. Wunderhorn-Verlag: 17-20. Rosen, C. (1997). The Classical Style: Haydn, Mozart, Beethoven. USA: W.W. Norton & Co. Selfridge, E. (1972) Beethoven and Greek Classicism. Journal of the History of Ideas, 33 (4), pp. 577-595. Tommasini, A. (2009). Steady but Articulate Hand on the Appassionata. The New York Times. Web: http://www.nytimes.com/2009/03/09/arts/music/09till.html. [Accessed on 26th April 2012]. Wallace, R. (1990). Aesthetic Dilemmas and Resolutions During the Composer’s Lifetime. Cambridge University Press: 8. Webster, J. (1981). Sonata Formed. The Musical Times, 122(1659), pp. 301-304. Wright, C. (2010). Listening to Music, 6th Edn. Cengage Learning, U.S.A.: 174. Read More