The Appreciation of Music - Vol. 1 (of 3)

The motive of the introduction, shown in Figure XLVII, is a deeply expressive bit of melody which at once establishes the mood to which the sonata owes its name of "Pathetic." How incisive and seizing is this very first measure! What a different world it takes us into—a romantic world of personal feeling—from the classic realms of Haydn and Mozart! The emotion thus suggested at the outset becomes deeper, too, as we proceed, first with the higher utterance of the same motive in the second measure, and then with the fragments of it in the third and fourth, urging us on to a climax on the high A-flat. Finally, in the fifth and succeeding measures, the pulsating rhythm of the accompaniment adds a still greater agitation, while the melody climbs ever higher and higher until it reaches the F of measure 9, after which it dies away in preparation for the main theme. The intensity of Beethoven's expression, by which his claim to the title of "romantic" is most surely indicated, could hardly be better shown than by this brief introduction of ten measures.

(a) Motive of the Introduction, Path?ique Sonata.

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(b) Treatment of this motive in the Development.

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FIGURE XLVII.

The body of the movement begins energetically, yet sombrely, with the first theme, in minor key and strongly pronounced rhythm. This merges quickly in the transition (27-50), which is neither a bit of empty passage-work as often with Haydn, nor a new melody as with Mozart, but contains constant references to the main theme (35-37, 39-41, 43-45). The second theme is both more lyrical in character and more extended than the first. It is not in the traditional key of the relative major (see Chapters II and III), but oscillates between E-flat minor and D-flat, coming into E-flat major (the relative of C-minor) only as it closes and debouches into the first conclusion theme (89-112). The closing section or codetta is, however, almost entirely in E-flat, and is moreover fairly long and important. It consists of two independent themes and of a reminiscence of the first theme at measures 121-135. A fine instance of melodic germination is found in the first conclusion theme, where the gradually rising melody twice builds itself up into a long phrase of eight measures (93-100, and 105-112) with splendidly sustained effect. The great variety of rhythm embodied in the codetta should be especially noticed.

The development begins with a restatement of the poignant introduction-motive, so managed that it leads into the remote key of E-minor. Now begins, with the resumption of the allegro tempo, a rather short but most interesting treatment of the first theme, continued with an ingenious variant of the introduction-motive (measures 142-143, 148-149: see Figure XLVII (b)), followed by the transference of the fragment of the first theme to the bass, where it is thrice repeated, amid constant modulation. Then, in the measure following 169, comes one of those inimitably hushed, mysterious passages so peculiar to Beethoven, through which, like fountains from a sombre pool, rise fragments of the first theme. Then, with a rapidly descending passage, the movement plunges into its recapitulation.

This section the reader will have no difficulty in analyzing for himself, not failing to note the felicity with which a new transition, from first to second themes (209-222), is made to germinate from the last two measures of the main theme. The coda, very brief, contains nothing but a final announcement of fragments of the introduction-motive and a single sentence of the first theme.

EXAMPLE FOR ANALYSIS, No. 18.

Beethoven: Piano Sonata, opus 13. Second movement.

This slow movement, a beautiful adagio cantabile in Beethoven's tranquilly serious mood, takes on the sectional form of the rondo, consisting of a theme (A), an episode (B), recurrence of the theme (A), a second episode (C), second recurrence of the theme (A), and brief codetta.

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FIGURE XLVIII.

The theme itself, filling only eight measures, but repeated at a higher pitch in the second eight measures, is a fine example of the variety in unity of Beethoven's melodies, secured only after much laborious sketching. It is shown in Figure XLVIII, and should be examined carefully. Almost every measure of it presents a new rhythm, so that there is none of the monotony of those themes which endlessly repeat a single rhythmic figure. (Compare the tunes of primitive savages shown in Chapter I.) Yet the whole melody is so deftly composed that its final impression of unity is perfect. The sequence form which the harmonies of the last four measures take contributes in no small degree to this impression of unity.

The theme being in the key of A-flat, both episodes are planned to give variety of key, the first (B—measures 17-28) being in the relative minor, F-minor, and the second (C—measures 37-50), beginning in A-flat minor and modulating, through E-major, back to the home-key.

With the third entrance of the main theme, the accompaniment takes the more animated rhythm of triplets; and these continue through the brief but delightful codetta (66-73).

EXAMPLE FOR ANALYSIS, No. 19.

Beethoven: Piano Sonata, opus 13. Third movement.[38]

This movement is an example of rondo form, being, like the Mozart rondo we have already studied, based on the alternation of a chief theme, with sections containing other material. The tabular view on the next page exhibits the complete structure.

The first theme, sprightly and energetic, and recalling in its melodic curve the second theme of the first movement, is in strophic form, with its last half repeated, and the cadence extended for greater emphasis. The sequences in measures 6-7 and 10-11 should be noted. The transition also starts off with a sequence, measures 23-26, corresponding to 19-22. Our old familiar, the device of imitation, also figures in measures 38 and 39. It is interesting to see Beethoven using these tools of the polyphonic style (see Chapters I and III) in a work so far removed from it, and with such ingratiating freshness.