Beethoven Piano Sonata #10, Opus 14 No. 2 – G G Major General Information Composed between 1798-1799 – Early Beethoven Dedicated to Baroness Josefa von Braun Around 15 minutes in length Three movements – Fast, Slow, Fast The first movement is Sonata Allegro form The second movement is a theme and variations The third movement is a modified rondo Each movement has a coda- the third movement’s coda is the longest Form – First Movement – Allegro (Sonata (Sonata Allegro Form) IIn n the earlier period listeners ‘ automatically automatically recognized in the two sonatas, op. 14, a struggle between two principles, or a dialogue between two persons because that was quite obvious.’ The two principles are described as ‘pleading’ and ‘resisting.’ ‘In the second sonata, this dialogue, as well as its significance, is expressed more tersely, and the opposition of the two 1 is evident in the contrary motion.” “
“The first movement is constructed on broken chords that fit the hand well but are somewhat difficult to read initially. The fine, march-like Andante is constructed as a theme and four variations. variations. The final movement, movement, Scherzo, is light and dance-like. The thin thin texture of this this bucolic movement is enriched with fast scale passages. Performers with strong fingers will 2 especially enjoy it. Level 10”
Exposition – (1 - 63) - 63 measures Theme (Group)
Measures
Length
Key Area
Theme One
1-8
8 mms
G- Major
Transition
9 - 25
17 mms
G -> D Major
Theme Group Two
26 - 46
21 mms
D Major
-3 sub-themes (A)26-32, (B) 33-40, (C) 41-46 41-46
1
Konrad Wolff, Masters of the Keyboard: Individual Style Elements in the Piano Music of Bach,Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms, Enl. ed. Bloomington: Indiana University Press, 1990, 116. 2 Jane Magrath, The Pianist's Guide to Standard Teaching and Performance Literature, Van Nuys, CA: Alfred Pub., 1995, 66.
Closing Theme
47 - 57
11 mms
D Major
Codetta
58 - 63
6 mms
D Major
Development – (64 - 124) - 61 measures
Theme One
64 - 73
10 mms
G- minor!!
Theme Two (Group A)
74 – 80
7 mms
B-flat Major
Transition – T1 Material
81 – 98
18 mms
A-flat Major - > Bb7
False Recapitulation
99 – 106
8 mms
E-flat Major
Dominant Prolongation
107 – 124
18 mms
D Dominant
Recapitulation – (125 - 187) – 63 measures
Theme One
125 – 132
8 mms
G- Major
Transition
133 – 152
20 mms
G-Major ->D7
Theme Group Two
153 – 172
21 mms
G-Major
-3 sub-themes (A) 153-159, (B) 160-167, (C) 168-173 Closing Theme
174 – 187
24 mms
G-Major
Coda – (188 – 200) – 13 measures
Second Movement – Andante – La prima parte senza replica – The first part without repeats
(non troppo stacc. ma non pesante – Schnabel edition) “The
second movement represents Beethoven’s first incorporation of a formal set of variations into the sonata. Such a marriage seems quite innocuous in this work, but, as the composer continues to work with this combination, it becomes an increasingly 3 powerful force for shaping the sonata concept .”
Theme and Variations - C Major (Sub-dominant)
3
Stewart Gordon, A History of Keyboard Literature: Music for the Piano and Its Forerunners, New York: Schirmer Books ;1996, 160-161.
Theme
1 – 20
Variation I
21 – 40
Variation II
41 – 60
Transition
61 – 64
Variation III
65 – 84
Coda
85 - 90
(retransition?)
Third Movement – Scherzo – Allegro assai
(sempre senza affrettarsi, sempre con umore e ben delicate – Schnabel edition) Rondo A B A Transition C A’ A Transition Coda
1 – 22 23 – 41 42 – 64 65 – 72 73 – 124 125 – 138 139 – 160 161 – 189 190 – 254
G – Major B – Major G – Major G – Major -> G7 C – Major C – Major G – Major Circle progression ending in G G Major
Pedagogical Concerns
Tricky rhythmic patterns – Quick three against two – mms. 20-23; 81-98; 114-120 - Syncopation – mms. 6-7; 47-57 Counterpoint can be confusing at times – mms. 1-8; 33-41; 81-98 Fast scale passages – however quite simple rhythmically – mms. 43, 45; 107-114 Carrying the melodic line through triplet textures – mms. 81-98; 115-120 Second movement -Articulation and voicing Third movement -Rhythmic complexity – lots of duple/triplet figures in 3/8 Solutions include hands separate practice, simplification – both harmonically as well as rhythmically, practicing in rhythms and slow-fast practice
Editions - A comparative guide
Edited by Artur Schabel – (published by Alfred now) Historical edition by Artur Schnabel. Fingerings are often clever and need to be worked on for some time before the strength of the fingering is apparent. Great footnotes in multiple languages and additional italics to help guide the performer as well as roman numerals showing the length of phrases prove useful. Unfortunately, sometimes the reading of music can be more difficult than Henle editions due to the added text. There are great interpretations of pedaling as well as tempi markings, though should be taken cautiously as Schnabel played the Beethoven sonatas VERY FAST and changed the pedal frequently. The measures are not numbered. G. Henle Verlag - Urtext – Another great edition of the Beethoven Sonatas. The benefit here is scholarship. The fingering can be excellent at times and other times completely awkward (hand size can change this dramatically). The edition layout is quite smooth making reading much easier than the Schabel edition. The measures are already numbered. There are comments and remarks at the end of the editi on but not nearly to the extent that are in the Schnabel edition. Breitkopf and Hartel – not as popular as the above listed editions here in the United States. The edition looks very clean, without fingerings or editorial remarks. The measures are not numbered either. Great for sightreading and simplicity. Bibliography Books
Gordon, Stewart. A History of Keyboard Literature: Music for the Piano and Its Forerunners . New York: Schirmer Books ;1996, 160-161. Magrath, Jane. The Pianist's Guide to Standard Teaching and Performance Literature ... Van Nuys, CA: Alfred Pub., 1995, 66. Wolff, Konrad. Masters of the Keyboard: Individual Style Elements in the Piano Music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms . Enl. ed. Bloomington: Indiana University Press, 1990, 116.
Internet
https://prezi.com/uqvvh5_nvjcn/analysis-of-beethovens-piano-sonata-no10-op14-no2/
