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Beethoven's Piano Sonatas: an Analysis of Compositional Trends from 1795-1822

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Beethoven's Piano Sonatas: an Analysis of Compositional Trends from 1795-1822 Beethoven's Piano Sonatas: An Analysis of Compositional Trends from 1795-1822 Chelsea Bloomberg Spring 2007 Dr. Gerald Berthiaume, Advisor School of Music College of Liberal Arts Honors Thesis ************************* PASS WITH DISTINCTION TO THE UNIVERSITY HONORS COLLEGE: O\~\setb As thesis advisor for EJOOMb2CC\• I have read this paper and find it satisfactory. Thesis Advisor .;1. / t -;;).. / 0 7 Date TO THE UNIVERSITY HONORS COLLEGE: EjOOr1'\~rt\ , As thesis advisor for O\Q.,k'tb- ( I have read this paper and find it satisfactory. Thesis Advisor 107 Date Precis Ludwig van Beethoven (1770-1827) is widely recognized as one of the most important composers in music history and his thirty-two piano sonatas are arguably the most significant pieces in their genre. There is an audible distinction between the first and last sonatas, and curiosity about the cause of this disparity, and a love for the music itself, inspired the conception of this study. Research for this project was focused on analysis of the written music, looking at six specific sonatas chosen from each of the three periods into which Beethoven's music is commonly divided. This is a standard method of finding out what events motivate a musical work. However, even using a typical approach, the results reached by an analyst may differ significantly from those of other researchers, due to the subjectivity inherent in music. In music, chords (three or more notes sounding simultaneously) frequently govern the forward motion of the piece and the order of chords affects this motion; this was the first aspect examined. Treatment of melody is another important part of music which was studied in detai1. The order in which specific themes appear, referred to as "form," also figures promjnently in music and was another emphasis of the study. Harmonic analysis proved difficult in some sections of works where there are few explicit chord progressions. In these instances, the main motivator was determined to be the relationship between individual, concurrent melodic lines. Upon completion of research, it was determined that there are several differences between the works of each period, as well as specific techniques that remain constant throughout all of his sonatas. Initially, the harmonies employed are largely traditional but over time they become more adventurous. Beethoven's treatment of melody also changes over Lime. In the first sonatas, the melodies tend to be lengthy, but by the last sonata the melodic ideas are reduced to only a few notes. From the early sonatas Lo the later sonatas therc is a noticeable shift in volume and thickness of sound. When Beethoven began writing, the piano was a delicate instrument, not nearly as powerful as the modern piano and his first sonatas reflect this. As he continued writing, however, he demanded more volume than the instruments could provide, inspiring changes in the instrument that eventually resulted in today's piano. Throughout all Lhirty-two sonatas, however, Beethoven retains a highly logical ordering of themes. Every composer after Beethoven was somehow affected by his works. Some, like Johannes Brahms (1833-1897) considered Beethoven the greatest master and sought to continue in a similar style. Others, such as Frederic Chopin (] 810-1849) and Franz Liszt (1811-1886), felt that the classicism expressed in the music of Beethoven had reached its ultimate conclusion and thus broke from this style, creating a radical new ideal in their own music. Without Beethoven's adjustments to harmony, melody, and texture, neither of these responses could have occurred and the music of today would be markedly different. The potential methods for expanding this study are numerous. Ideas include performing a full analysis of all of the piano sonatas, analyzing other works of Beethoven (the symphonies, Lhe quartets, etc.), and studying the works of earlier and later composers to acquire an understanding of precisely how composers approached writing before and after Beethoven. Table of Contents List of figures 6 Illlroduction 7 Methodology 8 Analytical Considerations 9 The Early Period (1795-1802) 10 Op. 2, No.2 11 Op. 13 "Grande Sonate Patherique" 14 The Middle Period (1802-1812) 18 Op. 53 "Waldstein" 18 Op. 57 "Appassionata" 23 The Late Period (1812-1827) 29 Op. 106 "FiirdasHammerklavier" 30 Op. 110 37 Conclusion 39 Glossary 41 Bibliography 44 List of Figures Figure 1. Op. 2, No.2, III: m. 1-3 13 Figure 2. Op. 13, I: m. 6 15 Figure 3. Op. 13,1: m. J31-J33 16 Figure 4. Op. 13,1: m. 59-61; III: m. 1-2 17 Figure 5. Op.53 I: m. 1-4 19 Figu re 6. Op. 57, I: m. 1 23 Figure 7. Op. 57, I: m. 10 23 Figure 8. Op. 57, III: m. 1-7 28 Figure 9. Op. 57, III: m. 20-22 28 Figure 10. Op. 106, 1: m. 1-2 30 Figure 11. Op. 106, 1: m. 385-387 31 Figure J2. Op. 106, l: m. 4-8 32 Figure 13. Op. 106, IV: m.17-21 35 6 Introduction. Ludwig van Beethoven (1770-1827) completed thirty-two piano sonatas between 1795 and 1822. When he published the first opus, a set of three (Op. 2), few could have imagined the extent to which his writing would evolve by the time he published the last sonata, Op. Ill, twenty-seven years later in 1822. When Beethoven started out as a fresh, young talent from Bonn, Gennany, the world was enamored of classicism, the foci of which are clean lines, clear textures, and, above all, balance. The art, music, and literature of the time looked back to the architecture and sculpture of ancient Greece to find inspiration. Musical classicism reached its pinnacle in the works of Wolfgang Amadeus Mozart (1756- I791). Beethoven adored the genius' music, and found in his works inspiration and a model to emulate as well as a shadow from which he must escape. In October of 1790, the young composer copied out a musical excerpt in his sketchbook, writing, "This entire passage has been stolen from the Mozart Symphony in C, where the Andante in six-eight from the ... [writing breaks off].'" Further down the page, he rewrote the passage, signing it "Beethoven himself.,,2 This desire to break from the earlier master's style was never fully effected in practice, however, and the influence of Mozart shows even in Beethoven's latest sonatas. Despite remaining evidence of Mozartean ideals of balance, by the end of Beethoven's life, he had strayed from the classical ideal fulfilled in Mozart's music. Even the most casual listener can easily discern the difference between Op. 2, No.1 (1795) and Op. I II (1822). However, hearing the difference is a matter far removed from knowing I Lewis Lockwood. Bee/hoven: The Music and /he Life (New York, N.Y.: W.W. Norton & Company, 2005) 57. 2 Lockwood. 57. 7 what precise changes occurred over time to create two works of such disparate character and construction. The purpose of this research is to discover and describe the changes in composition style and technique made throughout the twenty-seven years during which Beethoven composed the thirty-two piano sonatas. Methodology. In order to answer the research question, I chose six of the thirty-two piano sonatas to analyze. These sonatas represent the three standardized divisions of Beethoven's compositions, including two works from each period. The early period consists of music written between 1792 and 1802, and includes sonatas Op. 2 through Op. 49. The middle period lasted from 1802 to 1812 and includes sonatas Op. 53 through Op. 90. The late period lasted from 1812 to Beethoven's death in 1827 and includes the last fi ve sonatas, Op. 101 through Op. Ill. The sonatas chosen for this study are as follows: Early period: Piano Sonata in A Major, Op. 2, No.2 (1795) Piano Sonata in C Minor, Op. 13 "Pathetique,,3 (1798/99) Middle period: Piano Sonata in C Major, Op. 53 "Waldstein" (1803/04) Piano Sonata in F Minor, Op. 57 "Appassionata" (1805/05) Late Period: Piano Sonata in B-flat Major, Op. 106 "Fur das Hammerklavier" (1817/18) Piano Sonata in A-flat Major, Op. 110 (1821) } The tilles of Beethoven's sonatas were generally added by the publisher, not by the composer. An exception is Sonata Op. 81 a "Das Lehewohl" ("The Farewell"), which the publisher altered by translating it into French ("Les Adieux"). 8 Analysis of these six sonatas included a study of harmonic structure, formal structure, motivic and melodic elements, phrase style, texture, and relationships between movements. While studying these pieces, 1 compared findings with the analyses of Donald Francis Tovey and Charles Rosen, both of whom are weJl-respected for their studies of Beethoven. In addition to the study of these works specifically, I also compiled generalized information on all thirty-two sonatas; this information includes key relationships between movements, particular points of interest, general formal structures, number of movements, and use of repeats. Analytical Considerations. There are several things to consider when approaching the works of Beethoven from an historical and analytical perspective. First, we must be careful not to rashly label a once-used technique as a rule that must be found in subsequent works; Beethoven sometimes experimented with an idea for one work and never used it again. For example, after an analysis of Op. 106, it would be an error to declare that all late works of Beethoven are constructed using third relationships as the basis for harmony and melody. Second, we must take care not to throw out early ideas as possibilities for his later works; something that was laid aside for several years could suddenly be resurrected to achieve a desired effect; Lhis principle applies to the clean textures of Op.
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