Ulysses

Deleon Douglas
Donley Theory
III Beethoven Analysis
Essay 12/5/18

Beethoven’s compositional style revolves heavily around motifs, whether they be exact
reprises of melodies or rhythmic ideas. That being said, my stance on this piece is that this Sonata
follows the rules of the form closely and rarely strays away. Also, because this is Beethoven, that this
piece is based mostly in motifs as well as call and response.
The primary theme immediately begins with motivic material, specifically a small idea
containing a grace note with a 16th note value, and a grouping of one 8th note and two 16th notes.
This idea is repeated from mm. 1-27 and is traded between Violin I and Violincello with the
Violincello repeating the exact phrase two octaves down. Beethoven prepares the transition in a very
typical fashion. At m. 29, he begins to dismantle the initial key of Bb major. The continuous rhythms
that were previously driving the primary theme have come to an immediate stop, an obvious signal
for change. At m. 32 on the 3rd beat, a G dominant seventh is outlined briefly. Mm. 33-43 tonicize C
major, giving the illusion that we are established in a new key. This can be understandable especially
when harmonically analyzing mm. 41-42, which contains a rapid dominant-tonic motion. At m.44
medial caesura ends in C major. We quickly realize that this is just the prolonged tonicization of a V
chord in F major.
At m.45, the secondary theme begins with a new theme that does not use call and response
at all. The theme is played in unison, outlining the chord qualities. This new theme is also a little
ambiguous with the key it is in, judging by the descending fifth sequences it jumps into. From m.53
to m.63. Starting on m. 63, Violin I’s part becomes dense with more notes until a climax at m. 68
where Violin I begins to play pedal based ideas until m. 77. At m. 80, the EEC and 1st closing theme
is introduced with the return of the same motif found in the primary theme (m.1-27). The 2nd closing
theme contains the same idea found in mm. 33-39 in the primary theme, using long scalar passages
with minimal call and response this time. The section ends in F major, the same key that this section
started in.
The development at m.93 is brought in by the same phrase used in the beginning of the
primary theme (m.1-27), this time being thrown back and forth between all the parts rather than just
 Ulysses
Deleon Douglas
Donley Theory
III Beethoven Analysis
Essay 12/5/18

Violin I and Violincello. This lasts until m. 107, and after 6 measures a theme that resembles the
second closing theme of S, plays from mm. 114-139. This theme that is juggled in the middle of the
development contains scalar passages that mirror mm-33-39. There is no reprise of the secondary
theme at all in the development, not even in the retransition which begins at m. 140. The
retransition only contains a derived idea from the 2nd closing theme from the secondary theme. The
retransition (m.140) gives a hint to the recapitulation by teasing the listener with the same motif
found in the primary theme. This only occurs in m.140 and m.142 until a new idea, which begins at
m.143, interrupts it. This new idea stretches from m.143 to 167. Beethoven doesn’t use any
resemblance of the secondary theme in the development, this is the only instance of Beethoven not
following the structure of a generic Sonata form.
After a fermata, the recapitulation begins on m. 176. The primary theme is repeated but is
cut short at m. 199. This unfamiliar idea plays until m. 208, when the familiar part of the theme
comes back. After the medial caesura on m. 218, the secondary theme begins in the correct key of
Bb. This is because Beethoven cadenced in F major so he could treat it as the V of Bb major,
leading to a smooth slide into the secondary theme. The sequences in mm. 199-207 help to
transition into the tonicization of F major. The ESC occurs at m. 254. Closing themes 1 and 2 end
just as they did near the beginning of the piece, except that they are in the key of Bb major. This
brings the piece to a proper, by-the-book conclusion
After analyzing this piece, and recalling the distinct characteristics of a Sonata, Beethoven is
concrete with how he shapes the sections. Therefore, this paper has shown how close to the rules
Beethoven stays. It also shows how Beethoven’s compositional tendencies take shape in his writing,
regarding his constant use of frequent motifs and call and response between multiple parts.