Beethoven Piano Sonata

Op. 8 Pathetique
Revision Session

Historical Context - Beethoven

Beethoven was born in Bonn, Germany, in 1770.
Growing up, he was an incredibly talented pianist, which is reflected in the complexity of his
compositions for the piano.
He was taught composition by Haydn, one of the pioneers of sonata form.
He lived during both the late classical and early romantic periods in music, and was an early
pioneer of the romantic era through his use of unconventional, experimental techniques.
Beethoven also saw great developments in the piano during his lifetime, with the instrument
increasing in tonal range and dynamic capability, allowing for more adventurous
compositions to be written.
Composed a total of 32 piano sonatas, with the Pathetique, Moonlight and Appassionata
being amongst the best known in the genre.

Historical Context Sonata No. 8,

Pathetique
Written in 1798 and published the following year.
Pathetique was most likely added by Beethovens publisher and refers to the emotion
and drama of the piece
Written in the key of C minor, which is said to be Beethovens favourite key signature for
its sense of tragedy.
Possibly inspired by Mozarts Sonata K.457 as both share the same key signature,
sense of tragedy and very similar thematic ideas.
Uses the full range of the piano as it was in 1798, through wide leaps in the melody, a
deep left hand part and long scale passages.
Explores the dynamic capabilities of the piano by using a dynamic range that was much
wider than other compositions of this era.

Sonata Form
Made up of three main sections:
1. Exposition, where the composer exposes the material that will
be used throughout the rest of the movement.
2. Development, where the material heard in the exposition is
altered in a variety of different ways to create contrast and
interest.
3. Recapitulation, a recap of the original material heard in the
exposition.

Introduction (bars 1-10)

Grave tempo marking (solemn, very slow).
Key of C minor is established with the very first note (in this case a C minor
chord). We briefly modulate to E flat major (the relative major) in bar 5.
Use of fortepiano and sforzando to heighten the drama of the opening motif.
Opening six-note motif is perhaps the most recognizable in the whole piece, and
is repeated twice more throughout the piece (opening of the development and
beginning of the coda). It is also used to build the thematic content of the rest of
the introduction (notice the prominent dotted rhythm).
Homophonic texture interspersed with scalic runs in the right hand, ending with
a descending chromatic scale into the exposition.

Introduction (bars 1-10)

TASK:
On your score, find all the examples of the opening six-note
motif in the introduction, highlighting any changes they have
undergone (e.g. changes in rhythm, pitch or duration).

Introduction (bars 1-10)

A

Original motif

Exposition (bars 11-132)

The tempo undergoes a dramatic change to Allegro molto e con
brio (fast and with vigour).
The first subject is heard at bar 11 and is based around a C minor
scale. Beethoven uses periodic phrasing (2+2+4 bar phrases)
forming an arch shape. This phrase structure is typical of the
classical style.
The constant tremolo quaver octaves in parts of the left hand
create the effect of an ostinato, giving a feeling of drive to the
piece.

Exposition (bars 11-132)

From bar 35, there is a transition into the second subject built
from the melodic material of the first subject (notice the rising
and falling semitones).
Harmonically, the transition uses sequences to modulate
towards the expected key of E flat major. There is use of
dominant preparation (notice the B flat pedal) to anticipate the
tonality of the second subject.

Exposition (bars 11-132)

The second subject begins in bar 51, but instead of the usual key
of E flat major, it is in E flat minor. This is an example of
Beethoven doing the unexpected.
The second subject uses ornamentation (acciaccatura [grace
notes] and mordents [short trills]) and hand crossing technique.
In bar 89 a secondary theme begins in the relative major (E flat),
with a broken chord texture and contrary motion movement.

Exposition (bars 11-132)

The codetta (short tail ending) begins at bar 113 and features
elements of the first subject in the relative major (E flat) as well
as scalic passages that hint at the material of the introduction.
The entire exposition section is then repeated

Development (bars 133-194)

The development section begins with the opening of the introduction, now in the
dominant key of G minor. This is another unusual feature of this piece.
The first subject theme is then heard in the unrelated key of E minor.
Fragments of the theme appear in the bass at bar 149, whilst the tremolo octave
figure previously in the bass is now played by the right hand.
The music modulates through related and unrelated keys (D major and G minor).
28 bars of dominant preparation (notice the prominent G pedal note) begin at
bar 167 and lead us back into the key of C minor for the recapitulation.
Thematically there is material from the first subject, as well as broken chords that
hint at parts of the second subject.

Recapitulation and Coda (bars 195-end)

Material from the exposition is repeated, with the first subject in C
minor.
The second subject is in the unexpected key of F minor (subdominant)
at bar 221, before moving to the conventional tonic key.
Bars 253-288 are a repeat of the second subject material from bars
89-124, this time in the tonic key.
The recapitulation ends with two diminished 7th chords (a feature of
this piece), played fortissimo.

Recapitulation and Coda (bars 195-end)

The coda (tail) begins at bar 295, with four bars of the
introduction leading into 12 bars of the first subject theme.
The piece ends with fortissimo perfect cadences (chords V I)
as a final piece of drama in this movement.