BEETHOVEN’S “KREUTZER” SONATA AN ANALYSIS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music – Theory Eya Setsu May, 2021 BEETHOVEN’S “KREUTZER” SONATA AN ANALYSIS Eya Setsu Thesis Approved: Accepted: ___________________________ ________________________ Advisor Department Chair Dr. James Wilding Dr. Marc Reed ______________________________ ________________________ Committee Member Dean of the College Dr. Robert Brownlow Dr. Joe Urgo ______________________________ ________________________ Committee Member Dean of the Graduate School (name) Dr. Chand Midha ______________________________ ________________________ Committee Member Date (name) ______________________________ Committee Member (name) ii ABSTRACT This thesis takes an in-depth theoretical look at all three movements of Beethoven’s Violin Sonata No. 9, Op. 47. Every movement was analyzed using three different lenses: formal, harmonic, and motivic. The first and third movements are in sonata-allegro form. As a result, the formal analysis was most important here in order to understand how Beethoven used the form and any moments where he deviated from it. The second movement is in the form of a theme and variations, resulting in a comparative motivic analysis to understand how exactly Beethoven molded each variation. As the variations progressed, the theme became more difficult to discern. iii DEDICATION To J.C.C., for being on the phone with me for much of the time that I was completing this thesis. Your love, patience, and endless wit has brought such humorous light to my life throughout this tumultuous year. To A.M.S., for giving me every reality check I have ever needed to choose to continue this career path. You fought for me when I did not want to, and I could not be more grateful for your tough love. To my parents, for giving me the support and the space to make my own decisions, which ultimately led to the publication of this thesis, and the chance to grab new opportunities I never saw coming. iv ACKNOWLEDGEMENTS First, I would like to thank my advisor, Dr. James Wilding, for his patience, reassurance, and understanding as I worked on my thesis. His guidance and continued support have given me “food for thought” as I honed my analysis skills through this research. Second, I would like to thank my graduate advisor, Dr. Guy Bordo, for sharing the opportunity to complete a second master’s degree at the University of Akron and making it possible for me to continue my studies with assistantship. Third, I would like to thank Dr. Robert Brownlow for agreeing to be on my committee and for taking the time to read through my thesis. v TABLE OF CONTENTS Page LIST OF FIGURES ................................................................................................................................ viii LIST OF TABLES .......................................................................................................................................x CHAPTER I. OVERALL STRUCTURE ..................................................................................................................... 1 II. TONAL ANALYSIS OF I. ADAGIO SOSTENUTO – PRESTO ................................................... 2 Exposition .................................................................................................................................... 2 Development .............................................................................................................................. 8 Recapitulation ..........................................................................................................................12 Coda .............................................................................................................................................15 III. TONAL ANALYSIS OF II. ANDANTE CON VARIAZIONI .....................................................18 Theme .........................................................................................................................................18 Variation I—Rhythmic Variation in the Piano ............................................................20 Variation II—Rhythmic Variation in the Violin ..........................................................26 Variation III—F minor ..........................................................................................................30 Variation IV—F Major ...........................................................................................................36 vi IV. TONAL ANALYSIS OF III. FINALE – PRESTO........................................................................43 Exposition ..................................................................................................................................43 Development ............................................................................................................................48 Recapitulation ..........................................................................................................................49 Coda .............................................................................................................................................50 BIBLIOGRAPHY ......................................................................................................................................51 vii LIST OF FIGURES Figure Page 2.1 Semitone motivic cell .................................................................................................................... 3 2.2 Expansion of the semitone cell in D minor ........................................................................... 4 2.3 The secondary theme and its expansion ............................................................................... 6 2.4 Original eighth note figure at m. 118 and its following transposition ....................... 7 2.5 Beginning of the development .................................................................................................. 8 2.6 Measure 234-236 ........................................................................................................................... 9 2.7 Newly added third descent in the violin ..............................................................................10 2.8 Extension of the closing theme in the violin part ............................................................10 2.9 Inverted motive in the piano ...................................................................................................11 2.10 Climax of the development section .....................................................................................12 2.11 Piano takes the primary theme first in the recap ..........................................................13 2.12 Building the expectation of A minor and subverting it ...............................................14 2.13 Chromatic sequencing of material into Coda ..................................................................15 2.14 New melodic fragment that is being traded off ..............................................................16 2.15 New melodic fragment outlining A minor triad .............................................................17 3.1 Comparison between the A theme (measure 1 vs. measure 28) ...............................19 3.2 Shared thematic material (mm. 109-111) ..........................................................................30 3.3 Measure 117 outlines material from measure 36 ...........................................................31 viii 3.4 Piano condenses the rhythm in measure 119 ...................................................................32 3.5 Comparison of the A section ending in Variation IV ................................................ 37-38 4.1 Start of the primary theme (m. 1) .........................................................................................45 4.2 Secondary Theme (m. 62) .........................................................................................................46 4.3 Tertiary theme (m. 100) ............................................................................................................47 ix LIST OF TABLES Table Page 2.1 General sonata form diagram of the first movement ....................................................... 2 3.1 Form layout of the second movement ..................................................................................18 3.2 Side-by-side comparison (A Section vs. Variation I) ......................................................22 3.3 Side-by-side comparison (B Section vs. Variation I) ......................................................25 3.4 Side-by-side comparison (Theme vs. Variation II) ..........................................................29 3.5 Side-by-side comparison (Theme vs. Variation III) ................................................. 34-35 3.6 Side-by-side comparison (Theme vs. Variation IV) ................................................. 41-42 4.1 Form layout of the third movement ......................................................................................43 4.2 Form layout of the exposition..................................................................................................44 4.3 Form layout of the recapitulation ..........................................................................................49 x CHAPTER I OVERALL STRUCTURE Beethoven’s Sonata for Violin and Piano No. 9, Op. 47 consists