This coda ties a bow around a piece which probably served a practical purpose and provided a bit of needed income. Good luck as you get started, and I hope you enjoy the course! Motives c and e are heard at the same time as motive b. Beethoven Piano Sonata No.20 in G Major Op.49 No.2 Analysis. 1. Allegro Ma Non Troppo 2. I will start with the melody. This would be the inversion of motive a’s first variant. A detailed guide that analyzes the structural, harmonic and thematic frame. – perform music with others – meet students and staff – enjoy light refreshments. 49 No. What is interesting is the harmony and the quarter notes in the upper voice. 49 No. 13-14. See example 1. 25-26 is derived from two c motives as marked in the score. But atypically for his published works – certainly for his piano sonatas – it offers us no window into Beethoven’s soul. Daniel Vessey, piano. 2 The Piano Sonata no. Motivic Use in Beethoven’s Piano Sonata 20, Op. A detailed guide that analyzes the structural, harmonic and thematic frame. 2, 2nd movement. To view this video please enable JavaScript, and consider upgrading to a web browser that, "The Sonatas Op. You’re joining thousands of learners currently enrolled in the course. Measures 64-65 get to expand a little bit on the e motive, which expands into b motives. Andante 2. If you are taking advanced piano lessons, I hope this analysis will help you make better choices about interpretation. The b motive is an entirely descending stepwise 3-note group. In the melody Beethoven uses the combination b+c trick to give us two voices. After the repeat there is a harmonic shock. 49, No. 2 José Rodríguez Alvira . I am still fascinated by the complete control that Beethoven has over his motivic materials, and the way that these motives affect the harmony, which is why I am adding it here. See example 5. The ornamentation of c actually shows us motives b and d again. Also of significance here is the fact that Beethoven loved the Septet – it was, in its time, a very popular piece. 13-14. © 2020 Coursera Inc. All rights reserved. Beethoven is trying to emphasize what is coming next, the augmented sixth chord. There are some notable events though. As for those contrasting episodes, the first is quite courtly. I am a strong visual learner myself, and I am researching this piece for a teaching project. Motivic Use in Beethoven’s Piano Sonata 20, Op. It is actually the iv of a minor. – have fun! The benefits of taking your guitar lessons online, The Benefits of Taking Online Singing Lessons, Getting the most out of your online saxophone lessons, The best setup for your online guitar lessons. 2 Analysis Beethoven Sonata in G Major Op. But before I get ahead of myself, let me first play that opening theme. Recording courtesy of MusOpen. Beethoven has produced in this subtle movement a work in which all elements were derived from careful use of the motive. 49, No. Our b motive strikes again! All Rights Reserved. If you have questions about course content, please post them in the forums to get help from others in the course community. Beethoven then re-employs a lot of these tricks in a restatement. 2 – a menuet – is a bit more noteworthy than the first was. Motive c is a 3-quarter-note group whose first and last note are the same (g) separated by a lower neighbor (f#). Second four measure phrase in higer octave and connected to measure mm. There are no new tricks until m. 73. Daniel Vessey, piano. There is, however, a great amount of harmonic and motivic activity in this piece, derived mainly from several recurring motives. This is not the only instance of Beethoven “recycling” or “repurposing” material – you may remember that the op. 6-7 can be explained by a two-voice analysis, a sustained tone in the higher voice, and the b+a1 motive. 49 no. This article is an academic paper I wrote nearly a decade ago. See example 2. 20 in G Major, Op. The lowest voice can be considered motive b inverted. Measure 1 exposes our first motive, an ascending triplet eighth-note arpeggio on the tonic chord G. Immediately following is our first variant, a triplet, but this time descending and compressed (a step then a skip) which arpeggiates a 7th chord. I’ve also embedded the pdf in the bottom of the article in case you prefer to view them here. 2 sonatas have passages that are drawn from his very early piano quartets. Review the material we’ll cover each week, and preview the assignments you’ll need to complete to pass the course. Tweet Follow @teoriaEng. Allegro Con Brio 2. They are marked in the score. ILB 181 Key G major Movements/Sections Mov'ts/Sec's: 2 movements: Allegro ma non troppo (G … Measures 23-24 expand on the previous two. The arpeggios in mm. We also expect the ii6 chord in m. 13 to resolve to a I6 or even a V. Neither of these happens. You can obtain the score at the Petrucci Music Library. What is interesting (as marked in the score) is that when the runs are separated by quarter notes, the last note of the first run, the repeated quarter notes, and the first note of the second run usually forms the c motive or occasionally the b motive. 20 was probably written around the time Beethoven composed the 3rd and 4th sonatas, but because it was published in Vienna in 1805, nearly a decade after it was written, it was assigned then-current opus and sonata numbers, placing it amid works from the composer's middle period. This is the b+c trick again. Formal Analysis of Beethoven Piano Sonata Op. No. Beethoven: Piano Sonata No.21 in C major, Op.53 "Waldstein" Analysis. The low voice then moves by half steps upward (motive e) to bring us to the  dominant just as it did in mm. By giving us the proper resolution of the V/IV chord in G (namely to C) Beethoven tells us that it is time to go back home. 49 no. 1. I am still fascinated by the complete control that Beethoven has over his motivic materials, and the way that these motives affect the harmony, which is why I am adding it here. Allegro But the most interesting is motive d. It is labeled in the score as a minor third. In the constant changing between V and I6 4, the movement of the f# and a of V to the g and b of I and back to V produces two sets of motive c. See example 4. This allows Beethoven to stay on the same chord, though he changes it slightly. This is the first time we don’t have our d motive and we actually temporarily itonicize C. We even modulate there for a short time. 2: Authorities Wikipedia; BNF: 148111611: Composer Beethoven, Ludwig van: Opus/Catalogue Number Op./Cat. 49 No. 24-27 and beyond. We then follow with the ornamented c that has a third below it, another unornamented inverted c. The b motive is played in the bass against the b added in the melody in m. 23 as the c motive is played against the two inverted c motives of m. 24. It doesn’t, however, and instead jumps up to d5. In this section we don’t get too many new tricks, but a few. Especially the PDF's. This is the case first of all because, while not substantial or surprising, it has a great deal of charm. While that is going on, if we exclude the triplets in the high voice, the quarter notes produce a version of a1 overlapping with its own retrograde inversion. Beethoven Piano Sonata No.19 in G minor Op.49 No.1 Analysis. 8-12 four measure main theme phrase and … Exploring Beethoven's Piano Sonatas Part 6, Construction Engineering and Management Certificate, Machine Learning for Analytics Certificate, Innovation Management & Entrepreneurship Certificate, Sustainabaility and Development Certificate, Spatial Data Analysis and Visualization Certificate, Master's of Innovation & Entrepreneurship. 9-10 we notice that d#-e in m. 14 is expected to be a c#-d like m. 10. 59-63 are just recombinations of motive c (and or e depending on your reference point). Then come the linear passages. We initially think that we have gone to the parallel minor by virtue of the e motive, but not so. 49, No. Adagio Molto 3. The septet is structured like a divertimento, or serenade: Large sonata movement, slow movement, dance movement, second slow movement, second dance movement, and rondo finale. This is why the b4 must jump to d5 and how motive d is formed. The b note is contained in a G dominant 7 chord. Thanks for the kind note. And it is so subtle! Motive e gives rise to the chromatic run in m. 8, part of the reduction process here. ♫ So, the second movement of op. This menuet is the first of those two dance movements, and really, it’s only the opening theme that it has in common with op. It is the b4 to d5 jump. This is part of the retransition. I will run through the interesting parts of this piece as they appear chronologically. The move to the d can be considered an appoggiatura; it could also be  explained as the correct place for the b to go if the leap is considered part of a lager motive (a4-b4-d5). If we look at the melody of mm. See the score mm. https://www.sagemusic.co/wp-content/uploads/2013/01/BeethovenOp49No2MotiveGuide.pdf, https://www.sagemusic.co/wp-content/uploads/2013/01/BeethovenOp49No2.pdf. 2 The Piano Sonata no. But this isn’t nearly as interesting as the arpeggio in m. 8. It begins again in the soprano on the third beat, but this time in inversion. For Sage, Thank you so much for sharing this! 20 was probably written around the time Beethoven composed the 3rd and 4th sonatas, but because it was published in Vienna in 1805, nearly a decade after it was written, it was assigned then-current opus and sonata numbers, placing it amid works from the composer's middle period.