Zachary Gates Dr. Mataeisu Sonata Analysis Essay Beethovens Sonata No. 14 in C# minor, Op. 27 No.

2 for Piano Beethoven is hailed as a crucial figure that transitioned us from the Classical period to the Romantic period. He had written 34 piano sonatas, and this was his 14th, and possibly most popular today, known as the Moonlight Sonata. The Sonata Op. 27 No. 2 in C# minor has 3 different movements. An Adagio, followed by an Allegretto, and finished with a Presto. This unusual form of continually faster sonata movements was Beethoven trying to put an emphasis on the momentum of the piece and the importance of the final declaration, that being the Presto. The first movement (adagio) The first theme (mm. numbers, from 5 to 14) has a minor, solemn, and slow moving character. It is a melody being accompanied by a corresponding arpeggio underneath but in the same hand and mostly bass centered octaves in the left hand. The bridge (mm. 11 to 14) begins in a G# centered way with the same rhythm structure and range as the first theme, but centered in a different key and serving a different function within the harmony. It ends with a nice cadence that allows the second theme to come in to play. The second theme has one section (mm. 15 to 23). It takes an even slower take on the first theme, allowing the arpeggios to come out a little more then before. In addition, the left hand moves a little more and is more pronounced.

The development has two sections. The first section (mm. 24 to 31) transposes the first theme into a different key and plays around a little more towards the end. The second section (mm. 32 to 42) is much less melody-centric and gives a longer range of arpeggios being played. Theme 1 is then given again in the recapitulation (mm. 43 to 47). The bridge is also recapitulated (mm. 47 to 51). The second theme as well. Starting at measure 60, a coda starts that is finalized with a nice final cadence at measure 69. The Allegretto The Allegretto is then broken into three sections. The A section begins at measure 70. Within it, phrase a is from mm. 70 to 76. The b phrase then extends from 78 to 86. Later on, the A section ends with the c phrase that ends at 94, and repeat of the a phrase at the very end (with a small extended cadence until measure 106). . Throughout the A section though, we hear many sequences, especially within phrase a. Section B is the trio, being cut into phrase d (mm. 107 to 111) and then phrase e until mm. 114. The C section begins with a much slower left hand and an f phrase that goes until measure 123, followed by the g phrase that takes us to the end (mm. 130). The second movement puts the intensely fast and energetic Presto into context. The harmonic rhythm is much faster, which also puts into context the even faster harmonic rhythm of the Presto. Presto Finally, the Presto. This was written in a clear theme and variation. I will give all the points of a new variation. It all stays in the same key more ore less. All these measure numbers mark a change in the music. Mm. 139, 144, 150, 157, 160, 164,

170, 180, 184, 197, 212, 218, 225, 229, 233, 244, 252, 256, 261, 267, 277, 282, 287, 293, 297, 301, 307, 320, and then the final cadential pattern begins at 326. This movement was very quick, and changed quickly as well. It was not just for the sake of cramming a lot into one single movement too. It follows a heard logic where the melody sometimes changes hands, clefts, or is present alone or in an arpeggio. This sonata was different in that it continually got faster and only had three movements. In addition, the very upbeat saturation of theme & variation was something that I have not heard in many sonatas. The sonata is famous for its gorgeous, simple, and solemn melody in the first movement. However, people must listen through the whole thing to be able to hear the beauty of the first movement. The context and momentum that is supplied by the second movement. And then the extreme tension and release of harmony in the beautiful arpeggios and chords used in the last 2 pages of his Presto. When I first listened to it while looking at the score, my eyes went wide and all I could say was, Wow. Wow.