Beethoven Sonata No. 8 in C Minor Op. 13 “Pathétique”. 1798
Complete 1st Movement. Grave – Allegro di molto e con brio
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-full.mp3]Here is the tonic for reference:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-tonic.mp3]INTRODUCTION
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-introduction.mp3]EXPOSITION
Theme 1
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-e1-t1.mp3]Transition:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-e2-t.mp3]Theme 2
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-e3-t2.mp3]Codetta – Closing Thoughts
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-e4-cod.mp3]The Exposition is then repeated.
DEVELOPMENT
Here is the tonic again:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-tonic.mp3]Part 1.
The development section begins with a reference to the introduction, yet in a different tonality:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-1.mp3]Part 2.
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-2.mp3]This section can be thought of as consisting of several elements. We can see that it makes a clear reference to the second part of the transition passage presented in the exposition:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-2-transition2.mp3]A second element of this part is the left hand (tremolo bass) of theme 1. Here is theme 1 as presented in the exposition:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-2-theme1.mp3]This “tremolo” element from theme 1 is developed in the right hand:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-2-2.mp3]Part 3.
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-3.mp3]Part 3 can also be thought of consisting of at least 2 elements. The first element is this one:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-3-1.mp3]Which references another element in the transition passage:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-3-transition1.mp3]more specifically :
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-3-transition1-specific.mp3]The second element is a reference to the ornaments in theme 2:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-3-theme2-specific.mp3]Part 4.
Finally, the development is resolved: [audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-4.mp3]
also referencing the transition: [audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-3-transition1-specific.mp3]
(and in some way to the introduction as well:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-dev-4-intro.mp3] )
RECAPITULATION
Here is the tonic again:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-tonic.mp3]Theme 1
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-r1-t1.mp3]The transition section is now replaced with an extension of theme 1.
Theme 2
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-r2-t2.mp3]Codetta – Closing Thoughts
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-r3-close.mp3]CODA
Here is the tonic again:
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-tonic.mp3]Finally, the coda references the introduction yet solves it differently and theme 1 returns to close the piece.
[audio:http://www.jaimeoliver.pe/snd/b-sonata-8-CODA.mp3]
Questions and ideas for thought:
1. What is the role of the Introduction? Is it just intended to set the mood or does it have the status of a theme?
2. In the Exposition: what elements of theme 2 are contained in the transition passage?
3. In the Recapitulation: what elements of theme 2 are contained in the transition passage?
4. Why is the Recapitulation different from the Exposition? Why is the original transition changed in the Recapitulation?
5. Compared to Mozart’s and Haydn’s would you say that the form is more or less balanced? (hint: Think of balance in terms of symmetry and proportionality.)