Dissertation on "Formal and Tonal Analysis of Beethoven's Piano Sonata OP 110"

Dissertation 22 pages (6061 words) Sources: 7

[EXCERPT] . . . .

Beethoven's Piano Sonata No. 31 Op. 110: A critical analysis

The Prolific German composer and pianist, whose some thirty-two piano sonatas span a lifetime of achievement and professional success, managed to produce an impressive number of works which boast of a variety of classical styles. On the heels of compositional greats such as Haydn and Mozart, Beethoven is placed in the Classical Period of classical music, with its focus on order and structure with particular attention to magnificent arpeggiated runs, a robust counterpoint and larger-than-life almost anthematic themes. With this in mind, any exploration of his work must keep in mind the era in which it is produced apart from technical features of musical theory. However, innovations in style and musical taste and perspective helped form a solid basis for Beethoven's work. It is arguable the extent to which Beethoven 'changed' the musical landscape of his time. But either way, his influence as a composer of compelling, emotionally gripping and thought provoking material is indisputable. Though most who consider his music are immediately drawn to his symphonies, there is much to be said of his less bombastic works. In particular, his sonatas, or more specifically his piano sonatas, an instrument Beethoven proved exceptionally proficient as a performer with, demonstrate not only an unparalleled level of sensitivity but also compressed intensity. And while one could easily distinguish between certain stages of the composer's artistic development as a composer, one work especially deserves some attention. For Beethoven's thirty-first piano sonata, one composed in his later years, clearly demonstrates a break from his earlier preoccupation with indulgent themes, employment of frequent accidentals and exaggerated crescendos and contrasting expressions. In light of this, here we will take a closer look at this work and its unique treatment of monophony, polyphony, homophony, counterpoint and theme as well as how all of these complement and contrast other works by this giant of Germanic classical music.

Tragic Beginnings

Born in 1770, during a period of dynamic musical composition from the region of Germany and the Holy Roman Empire of the German Nation, Ludwig Von Beethoven was born under the shadow of his successful grandfather after whom he was named. Unfortunately, the hopes invested in the young boy were cast under a tragic light. for, "his mother's death in mid-July, along with his father's chronic alcoholism and hopeless abdication of family responsibility, had left Beethoven a virtual orphan at sixteen (Lockwood)." As to how this contributed to his work as a composer is left up to the biographer or historian of musical trends. Needless to say, Beethoven adopted a distinct style of composition which, though expressing some evolution throughout his life, possessed a uniqueness that many listeners and critics recognized. Particularly in his latter works, there is a clear return to the cozy simplicity and traditional charm he had embraced in his earliest compositions. And so, after contracting an illness, the nature of which is still debated to this day, ultimately died in the early spring of 1827. Of course, throughout his life, he produced a healthy repertoire of works ranging from sometimes almost painfully long symphonies to cleverly sculpted whimsical pieces of a rudimentary nature. And as to his sonatas and their form we will turn to some more technical inquiries into their nature.

Op. 110: Homophony and Harmony

The use of harmony in works by many classical composers is not what one would call a science, but more of an art. for, although there is music theory which governs much of what we see as harmony in a work, there is a sense of instinct and experience. Beethoven, above all else would attest to this. His enjoyment of music as a child and its profound affect on him during these formative years helped shape how it is Beethoven composed the way in which he did; his understanding of the relationship between notes and the like. It is common knowledge of his influence by the likes of Mozart and others he often emulated and respected as composers. So, it should come as no surprise that Beethoven's employment of harmony should not, at least in some respects, mirror those of his predecessors. These harmonies were far from dissonant, though at times adopting a jarring second or forth that, at the time, could be uncomfortable to the late baroque ear. Composers such as Vivaldi and even Biber, some hundred years before Beethoven, had already experimented with accidentals and the occasional employment of these jarring harmonies.

And yet, the harmonies employed in his thirty-first sonata almost possess a pre-classical feel with a dominance of thirds and fifths. However, the fugue like cycle as in the first and the last movements of the work, playfully alternate keys from a major to the weighty minor key. This alternating, so characteristic of Beethoven, is one of the many elements of his compositional style evident in this later work. How it so carelessly and effortlessly changes key while maintaining the same harmonic structure offers insight into its overall tonal structure.

Looking at an example of the music we can see how the harmony is represented in this work.

(w. Commons)

Here we find a remarkable treatment of the use of fourths in one sample of the work. And while thirds are more common here we have a variety of chording types and harmonies which exemplify the distinctive use of harmony for Beethoven. In the a flat over top the E flat transitioning to a more traditional third as in the E flat over top the C. Of course this is in the bass clef. For in the higher register of the treble clef the C. over top the a flat while simultaneously sounding a fourth in the lower produces not so much a jarring affect as it does the extraordinary soothing and almost elementary nimbleness so characteristic in his later works.

And yet the key signature allows the second double stop of a C. over top a B flat to be less striking as it resolves in the upper register of the treble with a B flat over top a G. natural. Of course the latter, had the time signature been a B. natural, would have been a third, but as it is we have a pair of second over top of each other. Of course this is not unprecedented in the period which it is written. Indeed, one may find it almost predictable, but this is the charm of Beethoven's almost puerile and simplistic treatment of harmony in his latter works. This may have been related to his disenchantment with Austrian trends in compositional styles later in life. For Beethoven found himself as anachronistic even in regards to his works of the middle period; which is regarded as the obviously more innovative period of his professional career. And so, if it were the case that these works, which were produced in his prime, were to be regarded as 'old-fashioned' then naturally anything following this would be regarded likewise. With this in mind, and perhaps this is purely speculative, this may be the reason for his return to a more rudimentary and less ostentatious style than that of the heroic period.

Other examples can be cited of Beethoven's unique employment of traditional harmonies in concert with less tradition ones. Consider these examples.

(W. Commons)

Here, in his sixteenth piano sonata we can see some similarities and differences in Beethoven's use of harmony. In the fifth bar of the example, in the lower register of the bass clef, we have a typical octave chording below the triple stop of B, D and G. The pattern is thrown off by replacing the G. with the octave of the B. And then resolving at the end of the bar with a return to the G. Here we have an example of a striking difference in harmonic employment from Beethoven's later works; particularly his thirty-first sonata.

Analysis of Harmony for Each Movement

The moderato first movement is in sonata form marked "con amabilito." After a pause at the dominant seventh it continues in a songlike "cantabile" theme. The harmony in this next part of the movement is characterized by dominant E flat and a base which descends form E flat to G. three times while the melody rises by a sixth.

The development stages of this theme begins another theme in which Beethoven does recapitulate with the opening theme in a flat major. He then combines it with an arpeggiated motif gradually modulating to E major. The harmony then modulates back to the key of a flat major. The movement finally closes by climbing a scale-like ladder in octaves and thirds to establish tonic tonality.

Beethoven gives a rough humorous feel with the use of this type of harmony and starts the second movement without pause or measured rests. His continuation from movement to movement is deliberate bridging of each feeling portrayed by the harmonies.

The second movement, or scherzo, is marked allegro malto and is the shortest… READ MORE

How to Reference "Formal and Tonal Analysis of Beethoven's Piano Sonata OP 110" Dissertation in a Bibliography

Related Dissertations:

Programme Notes for Beethoven's Waldstein Sonata Thesis

Program Notes for Beethoven's Waldstein Sonata

Beethoven's Waldstein Sonata: An Overview

Ludwig van Beethoven is widely considered one of the greatest composers who ever lived. His style connects the intense… read more

Thesis 2 pages (682 words) Sources: 3 Topic: Music / Musicians / Instruments

---

Beethoven's 9th Symphony Essay

Beethoven

Ludwig von Beethoven's Ninth Symphony was his last, completed and performed in 1824 in Vienna. Incorporating a Friedrich Schiller poem "An die Freude," ("To Joy"), Beethoven set a theme… read more

Essay 4 pages (1152 words) Sources: 1 Topic: Music / Musicians / Instruments

---

Music of Ludwig Van Beethoven Research Paper

Beethoven

The Music of Ludwig Van Beethoven

Ludwig Van Beethoven was a German composer born on December 17th, 1770. However, there is a debate about whether he was born on… read more

Research Paper 3 pages (991 words) Sources: 3 Topic: Music / Musicians / Instruments

---

Sergei Rachmaninoff's Piano Concerti Term Paper

Sergei Rachmaninoff [...] Rachmaninoff's Piano Concerti. Rachmaninoff is one of the world's best-known composers, and he wrote numerous pieces for concert and stage. Some of most famous are the four… read more

Term Paper 3 pages (1054 words) Sources: 1+ Topic: Music / Musicians / Instruments

---

Beethoven Moonlight Sonata and Vivaldi Spring From the Four Seasons Thesis

Beethoven, Moonlight Sonata and Vivaldi, Spring From the Four Seasons

The Moonlight of a Young Dancer's Life: A Short Story Inspired by Vivaldi's "Spring" and Beethoven's "Moonlight Sonata"

Exposition

Ludwig… read more

Thesis 8 pages (2732 words) Sources: 0 Topic: Music / Musicians / Instruments

---

View 100+ more related papers  >>