Piano Sonata No.8 in C Minor, 1st movement ‘Sonata Pathetique’ Beethoven Piano Sonata No.8 in C Minor, 1st movement ‘Sonata Pathetique’ https://www.youtube.com/watch?v=mSybkXzOe70 https://www.youtube.com/watch?v=mNPQrG33ZPg https://www.youtube.com/watch?v=79gzdskOGu4&list=PL1RN_p4uejOJO0A9kj33Hjtbdj07pto0E&index=2

Beethoven was an Influential Composer Ludwig van Beethoven was a German composer who lived from 1770-1827. He was a significant composer in the Classical era (1750-1820); his music is famous for its drama, intensity and emotion. He wrote music in many different forms including 9 symphonies (in four movements), sonatas and string quartets (2 violins, viola, cello). He wrote many sonatas for a range of solo instruments, such as piano, violin and cello. He wrote most for the piano – he composed 32 piano sonatas in total. Beethoven was a skilled pianist and his piano sonatas are among his most expressive and powerful music. A piano sonata has 3 movements: a first movement in sonata form, a slow second movement and a faster, lively third movement.

‘Sonata Pathetique’ is in Sonata Form ‘Sonata Pathetique’ follows the sonata form plan of 3 movements: 1st Movement (our set work) The first movement is quite unusual as it has a very slow introduction The slow introduction returns briefly, twice The introduction is just 10 bars long, but lasts for 1 minute 45 seconds 2nd Movement A slow movement The tempo is ‘Adagio cantabile’, meaning slow and songlike. 3rd Movement This is in rondo form (ABACA) and is marked ‘Allegro’ (quick)

‘Sonata Pathetique’ is in Sonata Form ‘Sonata Pathetique’ follows the following sonata form structure: Bars Section of the Piece 1-10 Introduction (marked ‘Grave’ – slow and solemen) 11-132 Exposition (marked ‘Allegro di molto e con brio’ – very fast and played with spirit. 133-136 Transition (link) 137-194 Development 195-294 Recapitulation (recap) 295-298 299-310 Coda (ending section)

The Exposition has 3 Themes The exposition (bars 11-132) is made up of 3 different musical ideas: Bars Musical Theme 11-50 Theme A – this is in C minor. It consists of rising and falling music over a ‘murky bass where notes are an octave apart. 51-88 Theme B – this starts in E flat minor. This is unusual - if a composer begins a piece in a minor key they would often move to the relative major which would be E flat major. 89-134 Theme C – this is in the relative major of E flat major. A lot of the music is made up of broken chords. The bass part uses an Alberti bass – where chords are played as separate notes, e.g. in bars 105-109.

The Development Section The development section (bars 139-196) has the following musical features: Bars Development Section 137-194 The development section is a variation on Theme A of the exposition – this can be heard in the staccato parts. The murky bass continues and broken octaves are used in the right-hand part (bars 151-168). There are references to the slow introduction, e.g. the melody in bars 142-143 mirrors the first phrase of bar 5. There are a number of modulations (changes of key) within the development section.

The Recapitulation Section The development section is bars 197-296 and has the following musical features: Bars Recapitulation Section 195-294 Each of the 3 exposition themes appears in turn. Theme A is in same key as the exposition – C minor. Themes B is in a different key. Theme C is now also in C minor. Theme A returns once more in the CODA, after which the piece concludes with ‘ff’ chords and a perfect cadence.

Sonata ‘Pathetique’ Shows How Music was Developing Beethoven’s music demonstrates the transition from the Classical period (1750-1820) to the richer harmonies and more emotional, dramatic style of the Romantic period (1820-1900). Many of these characteristics are seen in the introduction to the movement: Dissonance – in bars 1 and 2 of the movement. Variation in dynamics – the dynamic range is ‘pp’ to ‘ff’, with sudden changes such as ‘fp’ in bar 1, and more gradual crescendos and diminuendos. Dramatic chords – there are slow, dotted homophonic chords in the opening bars.

Sonata ‘Pathetique’ Shows How Music was Developing Contrast – this is created by the faster scales in bar 4 and bars 9-10. Large pitch range – in bars 8 and 9, the melody ranges from middle C in the first chord to a high F, 2 ½ octaves higher. The first chord of bar 9 (G7) spans nearly 4 octaves. Chromatic motion – parts of the harmony are chromatic, e.g. in bar 4.