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A Musical Analysis:
Beethoven Sonate No 5. Op 10. No 1.
Analyzing Movement 1: Allegro molte e con brio
Ludwig Van Beethoven is widely regarded as one of the most influential and
gifted composers of all time. He became the first composer to change the form of the
symphony by adding movements to one another by creating simple transitions that did
not allow for any breaks in between. He developed the musical length of the form and
added expansion material to the codas. Beethoven was considered a rebel who broke the
rules in composition. However when it came to composing, Beethoven made the rules.
The Sonata Allegro form is composed of three main parts that specifically deal
with the first movement of a piece. It can simplistically be called the ABA form. The
first A section is called the Exposition, and this is the introduction to the piece. The B
section is the Development, and it carries the composition further in elaborating on the
exposition. Finally, the A section is called the recapitulation, and the original A section
is repeated in variations until a coda or ending occurs. It many ways, this form of music
is analogous to the components of an analytical essay. The first part of the Sonata form is
the Exposition. It establishes the primary themes that will be later developed and altered
so that they may later become transitions to a related key section or to a closing section.
It will then usually repeat itself before transitioning to the next stage. In many ways, the
principal theme is much like a thesis, it is the whole purpose of the piece, and its presence
is used to establish an idea that will transition into other sections that support and
consistently underline this thought. The second part of the Sonata is often called the
Development. It is a free form, and therefore can vary in length. It often serves as a
strong contrast to the exposition, though the repetition of the main idea is still present. In
many ways the main idea serves as a transition, or topic sentence, that will allow the
principle theme to move in a different direction. Finally, the conclusion, or the
Recapitulation, will return to the material presented first in the exposition. It is often
condensed, abbreviated, expanded, rearranged, or contains combinations of the
development sections as well. It is simply re-establishing the main thesis, and reminding
the listener what the piece is all about.
The piece used for analysis is Beethoven’s Sonata in C minor, No 5 Op 10 No 1.
Listening to this piece, it is evident that Beethoven follows the Sonata form. The
exposition, called the A section, opens with strong dynamics and solid root chords that
quickly captures the attention of the listener.
The opening measures of the piece, or the A section, is composed in c minor with
a i chord. Here we see and hear the first motive of the piece. A derivation of it is
repeated again, but this time with accidentals. There is a b natural, which means the
piece could be quickly changing to the parallel major of the piece, C major. If this is
true, the end of the phrase ends back on a I6 chord in c minor again. Though the A
section will continue on for a bit longer, the opening measures will be the most important
to follow throughout the remainder of the movement, keeping a look out for any
repetition or reference back to the principal theme.
Here the A section transitions into a B section. The A section cadenced on a strong i
chord, and then with only a measure’s rest serving as a transition, went on into the
contrasting B section. A cadence is a standard formula used to end a section or a piece.
There are several different types of cadences, but in this particular case the last chord
ended on a perfect-authentic cadence, which is the most prominent. It means that the
chord ends in a root position with the soprano part on the root position of the I chord. The
tied half notes in the left hand slow the tempo down slightly, and the lack of chords and
eighth notes in the right hand also help with the softer touch.
Section C: The left hand changes its movement from quarter notes and ties to eighth
notes. It has become evident that the tempo is beginning to pick up speed again. The C
section will continue with upward scales in the right hand followed by dotted half notes
and such. Looking at the full score of music, the C section eventually renews the idea of
the A section by playing versions of the main idea in several different keys. After
cadential expansion measures towards the end of the section, it will finally cadence on a
i6, and then repeat the entire exposition.
This section is derived from section C. After moving into the development and already
touching upon the original theme, the idea of the eighth notes in the left hand is used
again, but this time with a different right hand melody. Beethoven skipped reviewing the
B section and went straight from A to C. He will eventually do a derivation of the B
section later in the recap, but during the development will dissect the B section to the
point that it cannot be recognized.
The movement ends with a medley of the three sections, with the tempo changing slightly
from fast to slower, this being controlled with eighth notes and quarter notes with ties.
The end of the movement is strong, with just two chords that suddenly burst out from the
softer dynamics Beethoven was hinting at. It goes from a V to a I chord, making it a
perfect authentic cadence.
Sources:
Recording:
John O’Conor on piano. Ludwig Van Beethoven’s Sonata No 5 Op 10 No 1
Books:
Benward and Saker’s Music-In Theory and Practice- Seventh Edition Volume 1.
Dover Publishing Ludwig Van Beethoven