Part 3 (2/2)

Sonata-piece: Allegro (first ro (first movement), Sonata in F minor Opus 2, No 1

Sonata-piece, Iro (first movement), Sonate Pathetique

Opus 13

The minuet proper, in the first selection, is a sihout its first period It is only at the beginning of the second period, with the dissonant C-flat, that so different comes to illustration The distinction of the mood is further illustrated in the trio which follohere the chords by their skips and their delightful changes afford acontrast with the main subject (It is upon this trio that Saint-Saens has written his lovely variations for two pianos, four hands)

TheSonata in Dcontrasts before we pass beyond the ht measures repeated) is purely lyric and very lovely The second period starts out with an iue, one voice after another responding in a vigorous and spirited htful return of the principal subject, we are led to a trio in the related key of G oes like a scherzo, and when it in turn has been coreeable effect At the end, a short coda Both these selections contain much which is not purely lyric, but rather thematic

This occurs always in the trios, and in the second period of theof the beautiful closing movement of the Sonata, opus 90 This movement takes the place of a slow movement in this sonata, and it is entirely in lyric style, except where the imperative need of relief has led to the introduction of less connected and sustained matter The melody itself is one of the best of Beethoven's The illustration comprises the first thirty-two measures

In the next division of selections we co a iven represent certain of the simpler phases of this part of his art, and if the student is aht read for himself the variations upon the waltz in C, or the famous thirty-two variations, in which endless varieties are obtained frohly developed example of this art is found in the last sonata of all, opus 111; but these are too difficult for our present use

The theme and variations in C, fro The theme itself affords a very pretty contrast between the staccato of the first period and the close legato of the second period Then the sweetness of it is relieved by the strong syncopations which break it up, toward the end (measures 17 and 18)

The first variation has the ato The right hand deals mainly with syncopated repeated notes

The second variation is much more broken The left hand plays the bass upon the beat, while the right hand co the s the ure in sixteenths for the right hand At the end there is a lovely coda of six hout these variations the hared Only the place of the ures have been changed

A still more reenius is found in the andante and variations which form the second movement of the Sonata Appassionata, opus 57 Here the variations are not indicated in the notation, but the player has to find theh, because the two periods of the thehtvariations

The theme itself has a church-like character, almost ”sacred” This is due to the first harain, in the manner of the ”Amen” cadence so well known in anthems

In the second period there is an intense and almost strained expression due to the chord of 4-2, the seventh low in the bass The first variation plays the melody in the same place as in the theme, and in the same chords; but the bass enters a half beat later and holds over, so that a restless and searching expression results The second variation, again, is very reposeful The ht-hand part, and the sixteenth motion is intended to have a certain chord-like character; meanwhile the bass has a part somewhat like a s the ain to the left hand in the e of the piano), while the left hand perforure in thirty-seconds At the end a lovely coda of sixteen hout these variations not only is the har in ti in, but the spirit of the theme is everywhere retained Observe that the coda is not concluded, but interrupted by the entrance of a di into the key of F minor In place of this chord, end with a chord of D-flat, directly after the do the diminished chord, when the finale is not to be played

Quite different frohly hunated in the copy, require only mention and characterization The the with a syncopation The first variation follows the harmony of the the up into sixteenth notes, but also in changes of position upon the keyboard This tendency to excitement continues in the second variation, where the melody is in the bass, in octaves broken into sixteenth notes The third variation changes thesyncopations, i much suppressed passion The fourth variation is a scherzo, bounding from one point of the keyboard to another, like a musical Ariel The fifth variation returns to the harht ested rather than fully brought out, in order that the coato, in the ninth measure shall be more effective The whole closes with a beautiful coda of fifteen measures (Count back from the end, if you do not find it at first)

Still more humoristic is the scherzo from the Sonata in C, opus 2, No

3 Here the principal subject is quite in fugue style, excepting the order of keys In place of answering in the fifth, it answers in the octave

It is unnecessary to add that this is a pure fancy-piece, the i unexpected and capricious, and never for the sake of co a pattern or form The trio is a complete contrast, and very free and effective upon the keyboard Then, after the return of the scherzo, we have a delightful coda of twenty-three measures

Less pronounced, but very beautiful, is the allegretto froentle, and designed to mediate between the intense sadness of the first moveing of the finale

The sonata-piece is one of the most serious and diversified movements known to reat unity, it is also rather complicated Hence it will not be properly appreciated except by those who observe the leading ideas as they enter and recall theain in the course of the treatment and development When a sonata is written for orchestra it becomes a symphony, in which form the different ideas are more easily followed because they derive a certain individuality fro them When an artist plays a sonata he seeks to intensify the individuality of the leading ideas and thus aid the hearer in recognizing and re theht and pleasing allegro which begins the Sonata in G, opus 14, No 2 The Principal subject lasts through twenty-four inning of the twenty-fifth ins with the forty-seventhfro the pedal point upon the do back the Principal, sixty-one ain

The first movement of the Sonata in F minor, opus 2, No 1, is shorter and the subjects less marked than in any other sonata of Beethoven It also has less ”stuffing,” the ideas folloith very little passage work between theinning with the F-flat in the soprano at the end of the twentieth ins with the C-flat in the soprano, in measure forty-one The Elaboration lasts sixty-two ins with a slow introduction, lasting ten ro, of which the Principal, with its retinue ofsequences, lasts forty measures The Second enters in measure forty-one, and the Conclusion in measure seventy-nine The Elaboration lasts sixty-twowith a few measures of the introduction

Ti each of these h separately

CHAPTER V