L.V. Beethoven, Sonata op. 109- Formal Analisys -Alberto Ferro (april 2014)

The 30th Piano Sonata by Beethoven presents some interesting aspects related to form, especially if we consider the relationship with classical forms and especially sonata form.The first striking aspect we see is that the entire sonata is in two movements. A Vivace, ending in a Prestissimo, and an Andante molto cantabile ed espressivo with Variations. Some would consider the Prestissimo as a third middle movement, due to its length and contrast with the opening: I agree and dont agree at the same time, and Im going to explain why.

If we draw a diagram of the form for the first movement (the Vivace without the Prestissimo) we see that:Mm. 1 to 8 Mm. 9 to 14 Mm. 15 to 56 |-----------------------------|-----------------------------|------------------------------------------------------------------|First thematic area (E) Second th. area First th. Area (B to E) (modulatory around B) Mm. 57 to 64 Mm. 65 to 73 Mm. 74 to 84 Mm. 85 to 98|---------------------------|----------------------|-------------------|--------------------------| PrestissimoSecond th. area First th. Area (E) Transition First th. Area (E) (codas)(modulatory around E)

Ive deliberately called the sections thematic areas and not complexes because of their relationship with the theme. It seems that none of them elaborates or develops the theme traditionally like in a sonata form: to understand why we should first identify the theme, or themes.

The opening is an arpeggiato articulation of a chorale-like chords progression in E major; the composer hides inside a melodic line through the arpeggios (mm. 1-5)

Example 1.So we can suppose that the first theme is that line: but the section ends abruptly at the very early measure 9 (after 2 phrases), without any kind of melodic/harmonic development, and this suggests that the theme we were looking at might have a different function. If we consider for example the movement of the other parts we can see a chorale writing style, with a particularly consistent conduct: soprano and tenor move in parallel, as well as alto and bass, on two parallel descendant scales.

Example 2.An opening on arpeggios like that on a chords progression in the tonality seems to have a function similar to a baroque preludium, which was supposed to introduce the harmony and the atmosphere for the actual piece of music. So we might start supposing that the theme is not an actual melody, but an articulation of chords, which might underline some specific melodic lines. The next section, mm. 9 to 14 (adagio espressivo) opens on one of these motives (the alto-bass melody of the first section) already became an actual lirycal melody, now played on the tenor first and soprano right after.

Example 3.So it appears that the two contrasting sections (contrasting from the point of view of tempo marking, time signature, dynamic, articulation, key) are based on the same thematic material, a 4-5 notes motif, basically a diatonic scale which Beethoven uses in both directions. What happens after in this second section still I believe cannot properly be called tonal area, or thematic complex, because there are few important (transitional) modulations (C#minor, D#major, Bmajor) and there isnt an actual motivic development of the motif: we see a sort of digression around diatonic scales, chromatic scales and arpeggios in various keys, like a cadenza.The section between mm. 15 and 56 develops the first thematic area: this could be considered a tonal area as well as a developmental area of the first theme. The material developed is strongly related to the opening: arpeggios on a chorale style texture, and melodic lines within the articulation. Its the longest section (in terms of number of measures) and it prepares a big cadential movement for the restatement of the opening (m.48): after a short transition (no change in articulation) the second thematic area comes back (m.58), with the same characteristics and structure of the first time, but around the key of the tonic (E major). As well we see transitional modulations and a cadenza to E major (m.65). The next section is once again related to the first thematic area, but by now we can clearly hear that the inner melodic scales coming out of the arpeggios are the same of the Adagio, but harmonized. The transition we hear at mm. 75 to 85 appears to be different from both the two thematic areas but its actually built on the same melodic/harmonic material:

mm.71 -74Transition mm.75-77 Example 4.

comes fromTransition mm.78 80 Mm. 9 -10 Example 5.Therefore the transition seems to be an actual final solemn statement of the theme, in full choral style, before the codas (on the first thematic arpeggios material).This entire first movement (Vivace) structure could be described as: A B A B codas, finale, codas.Regarding the tonalities:A (tonic) B (domin.) A (domin. To tonic) B (tonic) codas (tonic) transition (finale on tonic), codas (tonic).The very interesting aspect of how Beethoven applies this apparently simple structure is that the sonata form principle is subtly used within this form. A typical sonata form takes sadvantage of the contrast between two opposite themes to drive the tension towards its own development and a necessary conclusion; in earlier Beethoven sonata forms we see that the contrast between the two themes always finds its balance in aiming towards the development and recapitulation. The repeat of the exposition is always necessary to either state with more clarity the polarities around which the movement is structured and to build the right amount of expectation for the development of these polarities. In the opening of the op. 109 we hear two very contrasting themes, apparently belonging to two different sonatas (vivace and adagio),but both coming from the same material (as prevoiusly explained). The material presented is rich but at the same time extremely simple (tonal arpeggios, like a simple prelude, and lyrical scales). In a way, this simplicity and clarity doesnt require any further thematic exploration: this might be the reason why we dont have a tonal area for both the thematic areas. Instead we see a free cadenza developing in the second thematic area that highens the expectation for a homecoming: at measure 16 we are back in the first thematic area. The long section on the first theme (mm.16 to 57) appears to be not too different from a typical Beethovens development, and as explained, even if the articulation is taken from the opening, the material used is related to both the Vivace and the Adagio. The section also complies with the tonal features typical of a development: transitional modulation around the dominand and big cadential gesture towards the recapitulation of the first theme in the tonic key. After the second cadenza we hear a sequence of codas around the tonic; we feel that the duality is resolving and the final statement of the theme, in chorale style has this purpose. Other codas in the arpeggio articulation end the section.Does the principle of sonata form strongly affect the movement? I believe so. Is the movement (until here) in Sonata form? I believe not. The movement is not finished: the Prestissimo in 6/8 appears to be totally diconnected from the previous music, but few aspects will show not only its not, but that still the relationship with sonata form principle applies to it too. From a listening point of view I believe its quite interesting how such a contrasting section, which seems to have in common with the first part of the movement only the key (but not the mode, which is now minor), works so well in the Sonata. Ill draw some ipothesis. First of all, the theme seems to be taken from the hidden melody of the opening: Beethoven actually inverts the intervals and rewrite the melody on a 6/8 time signature.

Beginning

PrestissimoExample 6.Similar thing happens to the bass line, which is directly taken from the opening as well:

Example 7.The entire structure of the Prestissimo is binary. Beethoven uses few other motives all derived by the first period:m. 24 m. 70 the incipit of the bass lineThe second part starts at m.105, and it sounds like a reprise of the beginning of the Prestissimo. It develops the previuos motives like in a short sonata form development: at m.112 for example gives the theme to the left hand and at m.126 he works in sequence the second main motif.The apparent selfsufficiency of the Prestissimo might lead to think that it stands for a third movement; it would also have enough characteristics to do so, it has a complex and rich structure, a reprise with development, two contrasting thematic ideas; it might also be considered similar to a Scherzo, due to its character, the 6/8 time signature, the fast pace and for being between longer movements. So, in conclusion, it sounds like a third movement, but Beethoven wants to make sure that it is still coming from the first movement: the reason might be that the Vivace and Adagio are in contrast for many reasons, but in their duality something is missing. The preludium-like opening and the contemplative expressive Adagio with cadenza share a musical atmosphere of almost immobility: none of their themes does actually pushes the motion forward, and its quite atypical for a first movement of Sonata to be lacking of a strong (or at least very characteristic) masculine theme. When the Vivace ends we feel that the polarity between the two female themes has been resolved, but there hasnt been a real opposite counterpart: in my opinion the Prestissimo balances this resolution.The Theme and variations that follows is the second and last movement of the Sonata op.109: the structure is traditional, while the elaboration of the theme in each variation is extremely original and somehow experimental. The theme is in 3/4, E major, and as the tempo marking says is Andante cantabile con molta espressione. The first variation, which is a melodic elaboration of the theme, sees a straight accompanyment waltz-like in quarter notes: harmonically he avoids the cadence to dominant at the fourth measure, but the rest follows the original harmony of the theme. The second variation already shows some atypical approach to variation: the first 8 measures are written in a light articulation (which resembles the opening of the sonata, but in 3/4), and we see the melody notes in the top part. Its interesting that if in the original theme the melody of the first 8 measures tended to move from high to lower register now Beethoven rewrites those notes starting in the middle register and raises it up every two measures.

Example 8.Its also very interesting that at the beginning the articulation follows a 2/4 pattern (as underlined by the arches in the previous example. After 8 measures he doesnt repeat but elaborates the same section of the theme in a different way: the theme does have repetitions in its original form, but here he chooses to variate each repeat. Not only the articulation changes from the first 8 measures, but it develops after 4 measures as well, like in a sonata development section: we see that at m. 9 the accompanyment is steady eights notes, while at m. 13 both hands play sixteenth notes chords alternatively. Similar things happens to the second part of the theme: Beethoven changes the articulation in the same section for the first 8 measures, and the next 4 and 4.In the next variation the theme gets rid of a quarter note and the indication says Allegro vivace: Beethoven still keeps the harmony untouched as well as the main notes of the theme. The variation is basically a two parts invention where the lines are set in strict counterpoint.

Example 9.The theme of the invention has become a linear arpeggio of eights notes separated by rests, written by inversion of the left hand (the main notes of the theme): in the second part of the variation the motif becomes a straight line of eights without rests.The next variation, written in 9/8, restores the compound tempo in three: the style approached is more related stile galante, on an indication of Poco meno andante, poco piu adagio, but Beethoven elaborates the style on a 3-4 parts strict invention. The leading notes of the main motif for this variation (in the circles in the next example) are freely elaborated from the beginning of the original theme.

Original themeExample 10.Its also very interesting to see how, comparing all the entrances in this variation (at least the first 8 measures), they seems to draw melodic lines which all decay, from a higher note to a lower one: this is a clear referiment to the theme. The second section of this variation elaborates mostly the harmony on a very thick chordal tremolo articulation for both hands: in between this solemn full sound we still hear those galant motives from the first section, but now they gain a stronger and more consistant melodic role.The following Allegro ma non troppo is a fugato in 4/4, in four parts that uses the first two notes of the theme as subject: the result of the reiteration of the pair of notes gives a melodic line quite similar to the opening of the first movement, inverted:

Beginning

Variation VExample 11.It is also very similar to the subject Beethoven will use for the first Fuga of the Sonata op. 110.

The last variation before the restatement of the theme restores the Tempo primo del tema, which is Andante molto cantabile ed espressivo; Beethoven here uses a double B pedal to accompany the theme, stated on straight quarter notes, clearly derived from the theme and played simultaneously in inversion by the left hand. The process we see applied here is a gradual build up of sound through the development of the two pedal notes: its first a repeated quarter note, then an eight note, then becomes a measured trill on a 9/8 measure, then a slightly faster measured trill on a 3/4 measure, and finally a not measured long trill, hold initially by both hands, then only by the left on a low B, and then only by the right hand on a high B. The pianistic effect is particularly striking for the tension built on the low trill and then ethereal, even though dramatic, on the high one. The theme, after its first exposition on quarter notes at the beginning on this variation, increases its pace on eights notes, then triplets: this highly developed section correspond to the first part of the theme and its repetition, while the second part of the theme is elaborated differently.

Example 12.As shown in the example the articulation changes dramatically: the triplets become quadruplets of thirtyseconds and the melody is not stated anymore. Instead the groups of sixteents draw the harmony of the second part of the theme, elaborating it chromatically, and, with the trills, reaching the climax of the vaariation, probably of the entire piece. The repeat of the second part of the theme is once again elaborated differently: now the trill is on a high B on the right hand, and the melody is stated by the top notes of the right hand. The left hand elaborates in the thirtyseconds in scales and arpeggios on the harmony of the theme, and towards the end, the harmony does simplify in basically just arpeggios on I and V7. The variation ends in pp and it leads into the last exposition of the theme, which is almost exactly like the opening of the movement, without few embellishments. What attracts me of the Sonata is the clear demonstration, from a theoretical point of view, that each musical material requires a specific treatment, and the principle derived from first movement Sonata form could be elaborated and applied in different musical forms. In this case even if the structure of the first movement doesnt comply with the typical sonata form, its principles (relationships between two contrasting themes, their development, recapitulation) are still the most important part of the composition and work themselves from within the form. Beethoven in this case plays with the form; he seems to be more interested in developing the material considering it in itself, out of any preorganized structure. In the big picture the opposition of contrasting themes or sections towards a resolution on tonic seems to be the drive for both movements. Even the variations are often developed within themselves, pushing forward the need of a recapitulation. Instead of having different small worlds that enlight the many aspects of a theme, we witness a necessary journey through the theme, which step after step just reveals itself.