Sonata Op. 2, No.

1 in F Minor (1795)
The first piano sonata by Beethoven has the subtitle: Joseph Haydn gewidmet,
Sonata pour le clavecin ou pianoforte (dedicated to Joseph Haydn, sonata for harpsichord or
pianoforte). This underlines both the by now established form of the multi-movement piano
sonata (another form created by Papa Haydn, as composers used to call him in reverence) and
the recent technological development of the pianoforte keyboard instrument.

Mvt. 1 Allegro
Form: sonata form. This is a straightforward sonata form in minor, with secondary theme
(M2.1 to M2.3) in the relative major key. The development section is relatively brief, and
modulating to neighbouring keys. The codetta appears at the closing of the exposition and
the recapitulation.

Mvt. 2 Adagio
Form: ABAB. The main theme has a ternary phrase subdivision (M1.1 to M1.1’), with the
first phrase again subdivided into an antecedent-consequent pair (M1.a-M1.b).

Mvt. 3 Menuetto and Trio, Allegretto

Form: menuet and trio form. Both the menuetto and trio are monothematic, with their
B section developing the main theme. In the trio the development technique is imitation
between right and left hand, in the trio it is repetition in the left hand. The menuet is repeated
after the trio.

Mvt. 4 Prestissimo
Form: sonata. The main theme consists of two phrases (M1.1 and M1.2), the secondary theme
in the dominant minor has a ternary structure (M2.1 to M1.3). The development starts with
a new theme, only later to return to the original main theme. The key centre stays close
to the original minor tonic; only the relative major and (briefly) the lowered sub-mediant
are used (hardly a modulation). Both parts (exposition and development-recapitulation) are
repeated.

Key relationship overview

This early piano sonata has a very limited key compass. Three of the four movements open in Fm,
then move first to the relative major A[. The opening sonata movement is unconventional in the
sense that there is a change to the subdominant minor area B[m (1) at the start of the
development, before the move towards the minor dominant Cm (2). The third movement closes in
the parallel major key F (2). Theclosing movement confirms the standard pattern of going to the
dominant domain Cm (2) before alternating in the subdominant domain on the lowered submediant
major [V I = D.

Sonata Op. 13 in C Minor Path´etique (1798/1799)

This piano sonata has the subtitle: Dem F¨ ursten Carl von Lichnowksy gewidmet,
Grande Sonata Path´etique pour le clavecin ou pianoforte; hence it is better known as the
Path´etique
Sonata. This sonata has only three movements (fast-slow-fast).

Mvt. 1 Grave - Allegro di molto e con brio

Form: sonata form. A special feature of this sonata movement is that the slow introduction
subject returns as transitions before the development, and before the coda. Contrast is
achieved through tempo changes and dynamics. There is frequent use of contrary motion
and pedal point (8th note tremolo octaves). The development opens in the remote key of E
minor, before moving towards more closely related keys.

Mvt. 1 Grave - Allegro di molto e con brio: sonata form (Cm,, 310 m.)
Int Exposition (126 m.) Development (58 m.) Recapitulation (100 m.) Coda
Mvt. 2 Adagio cantabile: ABA’ Coda form (A, 73 m.) A B A’ C
Mvt. 3 Rondo Allegro: rondo form, ABACABA Coda (Cm,, 210 m.)
A B A C A’ B’ A” Coda

Mvt. 2 Adagio cantabile

Form: ternary song form,, ABA Coda.. This cantabile slow movement is another well-known
piece from the classical music canon. The first A section has an internal ternary structure
(with main theme M1 in the tonic and countersubject M2 in the dominant key). The middle
section, B, has an unexpected modulation to E-major (E = F[, the lowered submediant
key). The final A section repeats the main theme (no countersubject). The 16th note triplets
from the middle section return in the varied accompaniment to the main theme in the final
A section.

Mvt. 3 Rondo Allegro

Form: rondo, ABACA’B’A” Coda. This is a template rondo, with one exact repetition of
the A section,and two more slightly varied. Key relationships are straightforward. The C
section acts as a contrasting middle section; its subject (M3) is repeated multiple times, with
one-beat delay time shifts in either right or left hand.

Key relationship overview

Theopening and closing movement are in Cm and start with a key move towards the relative
major E[ and its parallel minor E[m. The sonata form Allegro then goes into the dominant
area D and uses the double occurrence of F to change intothe subdominant domain F 􀀀 Fm. This
movement has the widest scope of this piano sonata. The middle movement in A[ major also
displays the regular tendency: a first move
into the dominant area E and then a turn into the subdominant, using the Neapolitan
enharmonic equivalence. The finale Rondo shows many movements along
the vertical axis Cm, and alternates between dominant and subdominant
areas, closing with a Cm Fm A Cm key loop.

Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia - Mondschein

(1801)
This piano sonata has the subtitle: Der Gr¨afin Giulietta Guiccardi gewidmet, Sonata
quasi una Fantasia per il clavicembalo o pianoforte. However, it is better known under its nickname
‘Mondscheinsonate’. This sonata has three movements (slow-medium-fast).

Mvt. 1 Adagio sostenuto

Form: binary form, ABAB Coda form. No sonata form as the opening movement, which is
unusual. Instead a slow first movement with binary structure. Characteristic are the continuous
use of upward triplet 8th arpeggios in the right hand, the major-minor mode changes
and the frequent use of the Neapolitan 6th chord.

Mvt. 2 Adagio cantabile

Form: scherzo and trio. The scherzo consists of a cadential motif (M1.1), that is varied in its
repeats by lengthening the upbeat notes into suspensions. As a contrast, the trio subject M2.1
consists of a series of syncopations. The bridge of both parts (B section) contains sequences.
The scherzo is repeated after the trio.
Mvt. 3 Presto agitato
Form: sonata, The sonata closes with a fast movement, full of whirling, virtuoso 16th note
arpeggios, either as main subject in the right hand (M1) or as left hand accompaniment
(Alberti bass style in the second group subject M2.1 and in the transitions). There is some
tension-relieving contrast in the second group theme M2.2, with its contrary motion 8th note
chords in both hands. The coda contains tempo variations and quasi-improvised cadenzas.
Key relationship overview
This piece has a very limited key scope. The key pattern is most conventional: tonic-dominant-
subdominanttonic.
In the opening movement note there is twice an intermediary tonic major to dominant
minor key change: E 􀀀 Bm and B 􀀀 F]m. This movement closes by alternating with
the parallel major C] . The middle movement is in the enharmonically equivalent major
key C] = D[; the trio alternates with the subdominant major G[. The closing sonata form
remains in minor keys.