There are no major surprises save one when one listens to this piece or does a harmonic analysis. ... not substantial or surprising, it has a great deal of charm. 2 Exposition mm. 20 in G Major, Op. Tempo Di Menuetto I'm excited to have you in the class and look forward to your contributions to the learning community. This article is an academic paper I wrote nearly a decade ago. 20 in G Major, Op. 24-27 and beyond. This is not the only instance of Beethoven “recycling” or “repurposing” material – you may remember that the op. 2: Authorities Wikipedia; BNF: 148111611: Composer Beethoven, Ludwig van: Opus/Catalogue Number Op./Cat. Click Discussions to see forums where you can discuss the course material with fellow students taking the class. This would be the inversion of motive a’s first variant. Motives c and e are heard at the same time as motive b. © 2020 Coursera Inc. All rights reserved. Motive c is a 3-quarter-note group whose first and last note are the same (g) separated by a lower neighbor (f#). 2 – a menuet – is a bit more noteworthy than the first was. The low voice then moves by half steps upward (motive e) to bring us to the  dominant just as it did in mm. I will run through the interesting parts of this piece as they appear chronologically. The last note of motive b is the same as the first note of motive a1. – perform music with others – meet students and staff – enjoy light refreshments. 2 José Rodríguez Alvira . This article is an academic paper I wrote nearly a decade ago. What is he saying? Measures 23-24 expand on the previous two. It is entirely derived from the motives of the firsttheme. What is interesting (as marked in the score) is that when the runs are separated by quarter notes, the last note of the first run, the repeated quarter notes, and the first note of the second run usually forms the c motive or occasionally the b motive. The b motive is an entirely descending stepwise 3-note group. 36-52) are mainly liquidations of motive a, but also motives c, d and e. The entire body is comprised of the triplet motive which is obviously motive a whether it occurs in the melody or bass, stepwise or skipwise. Daniel Vessey, piano. ♫ It’s nothing remarkable, but alongside its gentility, it has a twinkle in its eye that makes it very appealing, and somewhat more distinctive than the first movement. This b+a1 motive begins in the bass in m. 2. I am still fascinated by the complete control that Beethoven has over his motivic materials, and the way that these motives affect the harmony, which is why I am adding it here. 13-14. A detailed guide that analyzes the structural, harmonic and thematic frame. Piano Sonata No. ♫ So, the second movement of op. – have fun! 2. Tweet Follow @teoriaEng. Beethoven is trying to emphasize what is coming next, the augmented sixth chord. There are some notable events though. This is the b+c trick again. You may also read Taro’s post on Foreign Bodies for his thoughts on how strange and interesting moments arise in music when motivic function, and harmonic progression come into conflict. Motive a gives rise to motive b in the second measure. Good luck as you get started, and I hope you enjoy the course! We find the same things just discussed in the lowest voice of the arpeggio pattern and the melody. As for those contrasting episodes, the first is quite courtly. 8-12 four measure main theme phrase and … And this problem is finally resolved in mm. No. He also combines two b motives together to get a longer 4-note motive. Beethoven: Piano Sonata No.21 in C major, Op.53 "Waldstein" Analysis. Simultaneously, b is played in the soprano against its inversion in the low voice of the arpeggio. supports HTML5 video. See the score for this. The motives are very closely related in this piece. To view this video please enable JavaScript, and consider upgrading to a web browser that The second theme occurs next. But at any rate, the fact that Beethoven reused this menuet theme in a piece he was so very fond of suggests that he must have held the theme itself in rather high esteem. 49 No. The d#-e movement begins a tone higher than is expected. 49, No. This first playing of b has the first variant of motive a dovetailed to its end. But it also has a certain historical significance: this movement must have captured Beethoven’s own attention, because he “recycled” its main theme in the menuet of his Septet for winds and strings, op. They are marked in the score. After cadencing on D major, we get d minor in m. 53. It is the b4 to d5 jump. Motive e gives rise to the chromatic run in m. 8, part of the reduction process here. 1. The lowest voice can be considered motive b inverted. ©2007 José Rodríguez Alvira. I’ve also embedded the pdf in the bottom of the article in case you prefer to view them here. The ornamentation of c actually shows us motives b and d again. Beethoven Sonata in G Major Op. Piano Sonata No. But it also has a certain historical significance: this movement must have captured Beethoven’s own attention, because he “recycled” its main theme in the menuet of his Septet for winds and strings, op. 49 and 14: The Exceptions that Prove the Rule of Beethoven's Ambition". Rondo - Allegro Moderato There is, however, a great amount of harmonic and motivic activity in this piece, derived mainly from several recurring motives. And it is so subtle! But another c, however picky it may seem, also exists in m. 21. But the most interesting is motive d. It is labeled in the score as a minor third. We also expect the ii6 chord in m. 13 to resolve to a I6 or even a V. Neither of these happens. This arpeggio can be picked apart in three different ways. 49, No. See example 2. At the same time, in the bass, an inversion of c is played against the first c in the melody (we have seen this before) and then another inversion of c against the ornamented version. This excerpt is seemingly so simple, but comprises two motives simultaneously played against their inversions. 2 – a menuet – is a bit more noteworthy than the first was. This coda ties a bow around a piece which probably served a practical purpose and provided a bit of needed income. Before reading, you should download the pdf version of the Score and the Motive Guide and listen to the music. 25-26 is derived from two c motives as marked in the score. Measures 64-65 get to expand a little bit on the e motive, which expands into b motives. 49 No. This is then followed by an inversion of motive c ornamented. See the score mm. But it wasn’t the sort of thing he did often. This music simply doesn’t have that intensity that is Beethoven’s defining quality. You can also subscribe without commenting. This is part of the retransition. If you are taking advanced piano lessons, I hope this analysis will help you make better choices about interpretation. This can be considered a motive in itself, but I must consider it two, seeing how the compression and elongation of a yielded b. We initially think that we have gone to the parallel minor by virtue of the e motive, but not so. ♫ Very much of a piece with the rest of the movement, and work as a whole. Welcome to Exploring Beethoven's Piano Sonatas Part 6! See example 1. 2 The Piano Sonata no. You can obtain the score at the Petrucci Music Library. The ii6 becomes a II or V/V allowing us to eventually itonicize the dominant, D, by virtue of motive e, which turns c into c# and thus ii into V/V. For Sage, Thank you so much for sharing this! Motivic Use in Beethoven’s Piano Sonata 20, Op. 108-109 when we are finally solidly back to our tonic key in m. 110. We then follow with the ornamented c that has a third below it, another unornamented inverted c. The b motive is played in the bass against the b added in the melody in m. 23 as the c motive is played against the two inverted c motives of m. 24. What is important about this motive is not that it is a third, but that the first note is expected to resolve to a particular tone, and the second note is one tone higher than the expected resolution. The arpeggios are obviously variants of motive a. 2 Analysis Beethoven Sonata in G Major Op. Review the material we’ll cover each week, and preview the assignments you’ll need to complete to pass the course. The upper tones, depending on which you consider, can be seen as either c or the inversion of c. I propose that it is both. Piano Sonata No. 49 No. But atypically for his published works – certainly for his piano sonatas – it offers us no window into Beethoven’s soul. 2. ♫ So, the second movement of op. 49 No. If you have questions about course content, please post them in the forums to get help from others in the course community. I want to thank you again! After the repeat there is a harmonic shock.