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Beethoven: ‘Pathétique’ Sonata

Key words
1) Instrumentation and Sonority
2) Structure
3) Tonality
4) Harmony
5) Rhythm, Metre and Tempo
At the top of your
6) Melody Beethoven Score write
each on in each of your 7
7) Texture colours
LOs: To develop my knowledge and understanding of music history; to identify
characteristics aurally; to expand my knowledge and use of subject-specific vocabulary.

The Classical Period : 1750 – 1820 (approx.)


The development of the piano and sonata
The ‘golden age’ of classical music, the Classical period
witnessed the perfecting of musical styles and techniques
such as the Sonata. Orchestras became more established and
music became all about entertainment and enjoyment.

Main composers: Haydn, Mozart, Beethoven


LOs: To develop my knowledge and understanding of music history; to identify
characteristics aurally; to expand my knowledge and use of subject-specific vocabulary.

The Classical Period Features


- Clear melodic lines
- Clear keys (major or minor) and functional tonality
- Use of Diatonic chords (I, II, IV, V, VI) to compose
- Predominantly homophonic or melody and
accompaniment textures
- Musical devices such as Appoggiaturas, Sequences and
Suspension
- Sonata: a piece of music written for a solo piano/ solo
instrument accompanied by piano
Romantic music features
Challenge Question
- Sudden dynamic changes
- How does this music show
- Unusual modulations
features of both musical
- Emotional music, designed to
styles?
show an emotion
Ludwig Van Beethoven

• 1770 – 1827
• Intense family pressure to become a prodigy (child star),
particularly from his father. Removed from school aged 11
• German, later moved to Vienna to write his music and
become a composer & performer
• From 1796 (aged 26) started to become profoundly deaf -
composed and performed his music without ever hearing it.
• Known as a Classical – Romantic cross composer, as his
musical style lead the way for the romantic period of music
Background information- Pathétique
Sonata Sonata - Solo
instrument (piano) or
• His eighth published sonata solo instrument
• Dedicated to a French aristocrat accompanied by
piano
• Title Pathetique: French for ‘moving’ or
‘emotional’

Sonata Form- A musical structure


Important!
Beethoven is a Classical period composer, however his
dramatic musical style, lots of dynamics and unusual
structure show signs of the Romantic period
Instrumentation – the fortepiano
This instrument evolved
The fortepiano was the
into the pianoforte - the
instrument this sonata
modern day piano.
was written for.

Pathetique exploits this


It was in a much instrument through
lighter case than a crescendos, dynamic
modern day piano changes and peddling

The keys are lighter,


and there are thinner It was particularly good
strings at sforzando (Sfz)- can
you find examples of
Lower notes had a this in your score?
buzzing resonance
and high notes a light One of the very first instruments Sforzando- sudden
treble sound where you could vary dynamics, accented note which
evident in the sonata should be suddenly loud
The evolution of the pianoforte?
• https://www.youtube.com/watch?v=BMxqAKx
WMYA
Instrumental techniques
• Dynamics- crescendos, diminuendos, Sforzandos
• Chordal writing-chords mixed with fast runs
(quick notes and scales)
• Accented chords
• Melodic decoration- Trills (tr) and slurs
• Peddling- sustained notes
Task
- Annotate your
score with the
examples here
- Challenge: Can
you find your
own examples?
Structure- Sonata Form

Watch this: https://www.youtube.com/watch?v=L7PfGTtUC84


Exposition Development Recapitulation

First subject Short Second First subject Short Second


Explores new ideas and Finally
transition subject different keys begins a transition to subject
to connect transition connect to (though in
the the key of the
to the which then
turns into first theme)
the

• Question- how does Beethoven develop this even more?


Structure- Pathétique Sonata
First there is a 10 bar slow
(grave) introduction, leading
to

Exposition Development Recapitulation


11 - 132 133 - 194 195 - 294
First subject Short Second First subject Short Second
(11 – 35) transition subject (51 – Explores new ideas and Finally
different keys begins a transition to subject
to connect 132) transition connect to (though in
to the which then the the key of the
turns into first theme)
the

Finally there is a coda bar 295


This music is Diatonic (stays in a
- end
keys, not dissonant/ clashing)

• Task- can you label the different sections on your score?


• Challenge- identify the internal structure of each section
Tonality
Introduction – C minor

Exposition Development Recapitulation

First subject Short Second First subject Short Second


Explores new ideas and Finally
(11 – 35) transition subject (51 – different keys begins a transition to subject
C minor to connect 132) transition C minor connect to (starting in F
the minor but
to the Eb minor G minor + E minor which then
turns into then goes to
the C minor)

Unusual! Finally there is a coda bar 295


Although the music is Diatonic – end (C minor)
(stays in clear keys), it modulates
to unrelated (unusual) keys in the
development

• Task- can you label the different sections on your score?


Task
- Annotate your score with the

Harmony examples below


- Challenge: Can you find your
own examples?

The music features many chromatic chords ,


especially diminished sevenths (e.g. half way
through bar 1) .
There are distinctive perfect cadences at the end of
the movement (chords V- I) .
There is an interrupted cadence in the introduction
at bar 9 (Chord V- VI) .
Use of Circle of fifths bars 244 - 249
Use of augmented 6th chords, e.g. bars 30 and 34.
Task
- Annotate your score with the

Texture examples below


- Challenge: Can you find your
own examples?
same Sounds

• Mainly homophonic (chordal)/ melody &


accompaniment
• Octaves in the introduction (bar 5)
• Monophonic passages (eg bars 187 – 194)

one Sound
Task
- Annotate your score with the
examples below
- Challenge: Can you find your
Melody
own examples?

The music of the slow introduction is based on a short ( six note)


motif, first heard at the beginning. This is used as a basis for most
of the introduction, sometimes reduced to five notes, and
sometimes with the second last note rising instead of falling .
There are a number of scalic passages, such as the descending
chromatic scale at the end of the introduction. The first subject
theme from bar 11 of the allegro is built on an ascending scale of
the tonic key C minor, but with a major third (E). Notice the
distinctive augmented second from A♭ to B ♮ .
Melodic lines also include arpeggios and broken chords (e.g.
bars 29 – 30) .
Ornaments are an important feature of the second subject in
particular. These include acciaccaturas at bar 53 etc., mordents
shortly afterwards, and trills just before the recapitulation.
Task
- Annotate your score with the Dominant 7th=

Harmony
chord V7
examples below
- Challenge: Can you find your
own examples?
• The harmony uses the standard chords of the time (i.e.
predominantly chords I, IV and V, with occasional use of II
and VI), including dominant sevenths in various inversions.
• The harmony is functional (mainly uses chord I, IV and V).
• The harmony uses mainly root position and first inversion
chords.
Root (block) 1st Inversion
chord (flipped) chord

• Perfect cadences announce the ends of sections (eg bar 77-


78).
• Suspensions are used occasionally (i.e. 9–8 suspension at
bar 130).
4 beats in a

Tempo, Rhythm & Metre bar

The introduction is marked grave (very slow). The time


signature is common time .
Dotted rhythm is an important feature of the piece (e.g. bar
1).
There are some very rapid notes, including septuplets and
1/128th notes in bar 10.
The main allegro di molto e con brio (very fast with vigour)
section is in alla breve time – a fast two in the bar.
Continuous quavers are a distinctive feature of the
accompaniment of the first subject. 2 beats in a bar

Staccato crotchets are important in the right hand of the


first subject.
Test time!
GCSE questions

1) Find two examples of different musical textures in the movement- monophonic


and homophonic.
2) What is unusual about the key of the second subject? Why do you think
Beethoven chose this key?
3) Describe the opening ten- bar introduction highlighting three features of the
music
4) There are many examples o fthe dramatic diminished 7th chord in this piece,
such as on the third crotchet beat in bar 1. Explain the makeup of the chord-
that is, how many notes it has, the size of intervals between notes, and how it
resolves onto the following chord.
Challenge
1) Explain how this piece demonstrates some of the key features of the Romantic
style
2) Listen to the second, slow movement of this sonata. What ood do you think the
music conveys and how does Beethoven achieve this in the music?
3) The piano underwent changes to its structure, range etc during this time period-
why?

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