Beethoven Piano Sonata #10, Opus 14 No.

2 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 movements coda is the longest
Form First Movement Allegro (Sonata Allegro Form)
In the earlier period listeners 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
is evident in the contrary motion.1
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. The final movement, Scherzo, is light and dance-like. The thin texture of this
bucolic movement is enriched with fast scale passages. Performers with strong fingers will
especially enjoy it. Level 102
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

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 Beethovens 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
powerful force for shaping the sonata concept.3

Theme and Variations - C Major (Sub-dominant)

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 edition 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/