A Comparison of Micro- and Macro- Extension in

Beethovens Sonata Op. 111 and Schuberts Sonata D. 958

FIVE BAR PHRASES?

E pluribus unum. A close look at two mature masterpieces from Classical
composers - Beethovens Piano Sonata Op. 111 and Schuberts Piano Sonata D. 958
- reveals intricate similarities that link the two pieces together, despite major
differences in the construction of the respective movements.
The first movement of Beethovens Sonata Op. 111, Maestoso - Allegro con brio
ed appassionato is monothematic, with a slow introduction. The majority of the
movement is built on a toccata-like pertuum mobile of continuous 16th notes, which
takes on a fugato structure most of the time?. The monothematic nature of this
movement, coupled with the constant 16th-note contrapuntal passagework, results in
a very present need for sustained interest.
Beethoven solves this need in several ways - the most easily noticable are
the closing interjections in a slower Meno Allegro at the end of the exposition and
recapitulation - highly reminiscent of his late Quartet Op. 127, where he turns a
slow introduction into an integral part of the sonata form by means of interrupting
fast continuous motion with the slower opening material. Opening intro of 111
shares the double-dotted rhythm with the Meno Allegros.
Beethoven also uses significant, repeated textural inversion in his
contrapuntal writing. Write about this somewhat. Maybe this part should go later,
in the comparison section, in context of Schuberts sonata.
A natural (insert pun?) result of fugato texture is the extension of phrase
lengths as the passage progresses, to facilitate development and buildup to a
climax. Beethoven uses phrase extensions combined with chromatic motion especially
in the ------- sections.. provide bar numbers. He also uses extension, in
unexpected/unpredictable bar lengths, in the Meno allegro sections.
Before the recapitulation of both movements, the rhythm of the first group
theme is repeated, superimposed over chromatic motion on the dominant pedal.
Beethoven - recap A2 (fugato) opens in F minor.?
Schuberts Sonata D. 958, on the other hand, is written in a traditional
sonata form, with two theme groups, A in C minor, B in E-flat major/minor, and more
typical length of development.
Both movements focus on the key of A-flat as a climax point.
Sanjays idea - The opening bars of Schubert 958 are a small version of the form.
Tonal music (first 4 bars),followed by more harmonically intense/faster rhythm,
chromatic music (next 7 bars), followed by a climax on the note/key A-flat. A-flat
minor is the subdominant of E-flat, in the end of expo.
Then development begins in A-flat major.
Even in the recap closing material in Schubert (mm. 235), a big focus is on the
subdominant F minor, which carries Ab in the melody in various sighing gestures.
235, 236). End of the coda has continual accented gestures on A-flat (right hand,
260 onward).

Beethoven also focuses on A-flat. Meno allegro is A-flat (actually tonicized.) A-

flat note is given harmonic power in the motive through the diminished 7th chord.

-THESIS DRAFT-
Beethovens choice of a monothematic first movment in his Op. 111 results in
several inevitabilities with regard to: 1. construction of the form, and 2.
structure of phrases.

the natural necessary compositional approach