Beethoven: ‘Pathétique’ Sonata

Key words

1) Instrumentation and Sonority 2) Structure 3) Tonality 4) Harmony 5) Rhythm, Metre and Tempo 6) Melody 7) Texture

At the top of your Beethoven Score write each on in each of your 7 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 - Sudden dynamic changes

- Unusual modulations - Emotional music, designed to

show an emotion

Challenge Question - How does this music show

features of both musical styles?

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

• His eighth published sonata • Dedicated to a French aristocrat • Title Pathetique: French for ‘moving’ or

‘emotional’

Important! Beethoven is a Classical period composer, however his dramatic musical style, lots of dynamics and unusual structure show signs of the Romantic period

Sonata - Solo instrument (piano) or

solo instrument accompanied by

piano

Sonata Form- A musical structure

Instrumentation – the fortepiano The fortepiano was the instrument this sonata

was written for.

This instrument evolved into the pianoforte - the

modern day piano.

It was in a much lighter case than a modern day piano

The keys are lighter, and there are thinner

strings

Lower notes had a buzzing resonance

and high notes a light treble sound

One of the very first instruments where you could vary dynamics,

evident in the sonata

It was particularly good at sforzando (Sfz)- can you find examples of

this in your score?

Sforzando- sudden accented note which

should be suddenly loud

Pathetique exploits this instrument through

crescendos, dynamic changes and peddling

The evolution of the pianoforte?

• https://www.youtube.com/watch?v=BMxqAKxWMYA

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 transition to connect

to the

Second subject

First subject Short transition to connect to

the

Second subject

(though in the key of the first theme)

Explores new ideas and different keys

Finally begins a

transition which then turns into

the

• Question- how does Beethoven develop this even more?

Structure- Pathétique Sonata

Exposition 11 - 132

Development 133 - 194

Recapitulation 195 - 294

First subject (11 – 35)

Short transition to connect

to the

Second subject (51 –

132)

First subject Short transition to connect to

the

Second subject

(though in the key of the first theme)

Explores new ideas and different keys

Finally begins a

transition which then turns into

the

• Task- can you label the different sections on your score? • Challenge- identify the internal structure of each section

First there is a 10 bar slow (grave) introduction, leading

to

Finally there is a coda bar 295 - end This music is Diatonic (stays in a

keys, not dissonant/ clashing)

Tonality

Exposition Development Recapitulation

First subject (11 – 35) C minor

Short transition to connect

to the

Second subject (51 –

132) Eb minor

First subject

C minor

Short transition to connect to

the

Second subject

(starting in F minor but

then goes to C minor)

Explores new ideas and different keys

G minor + E minor

Finally begins a

transition which then turns into

the

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

Introduction – C minor

Finally there is a coda bar 295 – end (C minor)

Unusual! Although the music is Diatonic

(stays in clear keys), it modulates to unrelated (unusual) keys in the

development

Harmony 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

examples below - Challenge: Can you find your

own examples?

Texture

• Mainly homophonic (chordal)/ melody & accompaniment

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

same Sounds

Task - Annotate your score with the

examples below - Challenge: Can you find your

own examples?

Sound one

Melody 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

examples below - Challenge: Can you find your

own examples?

Harmony • 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.

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

78). • Suspensions are used occasionally (i.e. 9–8 suspension at

bar 130).

Root (block) chord

1st Inversion (flipped) chord

Dominant 7th= chord V7

Task - Annotate your score with the

examples below - Challenge: Can you find your

own examples?

Tempo, Rhythm & Metre 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. Staccato crotchets are important in the right hand of the first subject.

4 beats in a bar

2 beats in a bar

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?