Sonata Pathétique - Beethoven
- Created by: 07BO02
- Created on: 18-11-17 10:19
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- Sonata Pathétique - Beethoven
- Sonata form
- This set piece is the the 1st movement in 'Sonata Pathétique' so it is in sonata form. There are 3 main sections in sonata form:
- The 1st section is the exposition.
- This is where the main themes and subjects are stated.
- It usually ends in a different key to the one it started in (however it's a related key).
- The exposition is often repeated so the listener can become familiar with all the subjects before the development occurs.
- The 2nd section is the development.
- This where the main themes and subjects from the exposition are developed.
- It's usually the most interesting part as it has constant changing drama.
- The variants of the subjects are in different keys - the development usually modulates to numerous keys (which aren't the tonic or dominant)
- The 3rd section is the recapitulation.
- This section pulls it all together and 'recaps' the themes and subjects from the exposition.
- The subjects are usually changed a bit - some ornaments might be added, they could be shortened or they could be in a different key.
- The recapitulation normally balances the exposition. Then the whole movement usually ends with a coda.
- The 1st section is the exposition.
- This set piece is the the 1st movement in 'Sonata Pathétique' so it is in sonata form. There are 3 main sections in sonata form:
- First subject
- Bars 11-50
- Is nicknamed the 'rocket theme' as the right hand part regularly ascends in pitch which mimics a rocket ascending in the sky.
- Is in C minor (the home key).
- The left hand plays tremolo octaves which forms a tonic pedal on C. It also creates a murky bass - which creates tension and sounds like a dramatic build up to a take off (like a rocket).
- The articulation is mainly staccato which makes the music sound more jumpy and suspenseful.
- The dynamics start off piano then they crescendo to forte. Sforzandos are used.
- The tempo of this subject is allegro so the pace is fast. This adds the the exciting 'rocket' mood.
- The rhythm is fairly quick tremolos in the left hand and quavers, crotchets and minims in the right hand.
- Second subject
- Section A (bars 51-88)
- In Eb minor which is unusual because when the piece begins with a minor key, it modulates to the relative major.
- The right and left hands cross each other as a mixture of bass clef and treble clef are used in both hands. This shown by the 'sotto' marking at the beginning of bar 51.
- The crossed hands creates a sense of a dialogue and an antiphonal effect.
- A dominant pedal is created by Bb semibreves which are played in the left hand.
- There is contrast in the articulation: some parts are legato while others are staccato.
- Multiple ornaments are used to decorate the melody. Appoporigias (grace notes) and mordents are used.
- Section B (bars 89-132)
- Is now in the expected key of Eb major - the relative major of C minor.
- The bass part uses Alberti bass. This where broken chords are played in the order: root, fifth, third, fifth.
- The melody is mainly made up of broken, quaver chords.
- The left and right hand parts start to move chromatically away from each other (the right hand ascends while the left hand descends in pitch).
- As the pitch range widens, the music crescendos from piano to forte - with a climax at bar 98.
- Bars 89-100 are repeated at bars 101-103 with an altered end from bars 110-113. Then bars 113-121 consist of a 4-bar phrase which is repeated once.
- At the end, the left hand reverts to the simple bass part in section A. While the right hand plays a descending scalic melody.
- Overall, the entire 2nd subject is more lyrical than the first. The sharp contrast between the 2 subjects creates excitement and suspense.
- Section A (bars 51-88)
- Classical and Romantic music
- Development
- Recapitulation
- Sonata form
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