Part Three Classical Compositions # art Ill emphasizes the chief instramental forms of the late Classical era: sonata, rondo, and the compound ternary form. It also contains a typical theme with variations (page 177) and two fantasias—a short one by C. P. E, Bach, and the great C minor fantasia of Mozart. SONATA FORM If time permits, study of sonata form might begin with examination of the Scarlatti sonata in Part Il (our example is quite typical in form), and perhaps also the Clementi sonatina. Standard examples of Classical sonata form in major and minor respectively are the first movements of Mozart's K. 333 and Beethoven's Op. 2, No. 1, Two further examples that readily relate to these are the first movement of Haydn's E flat major sonata, with its monothematic design, and the first movement of his G minor string quartet, Op. 74, No. 3, with its recapitulation of the second theme in the parallel major. Examples of somewhat less common types of sonata form are listed below followed by their page number: Major-madle sansta with second theme in (271) Extensive coda (271) Slow-tempo sonats form (198), ee also (248) Slow introduction precedes the form proper (253) No development section (248, 285) ‘Concerta frst moverent (215) Further examples of sonata occur later in the anthology: The Brahms move- ment for clarinet and piano in Part IV not only shows the genre of the duo sonata but also Brahms’ typical "third theme” and use of thematic transforma- tion. In Part V, sonata form is quite clear in the Hindemith movement, less easily discerned in Schoenberg’ Op. 33a (which will surely be studied primarily for other reasons). ‘Two complete sonatas (alll movements) also are given in Part IM: Mozart’s K 333 and Beethoven "Pathétique.” 13144 PART THREE — Classical Compositions RONDO FoRM ‘The Couperin rondeau in Part Il can precede study of the Classical rondo, which is represented by five examples. The second movements of Beethoven’ "Pathétique” and of Mozart's K. 570 progress from elementary to somewhat less so. The last movements of the “Pathétique” and of Mozarts K. 333 are “sonata rondos,” with the latter more expansive and unusual in style. The finale of Haydn’ “Clock’ Symphony is a rich orchestral rondo with some unexpected features. LaRGE TERNARY FORM ‘The term “large (or compound) ternary form” is understood here to cover ABA forms in which A is itself a small binary or ternary form and B may be either closed or open. Most “trios” (whether or not actually called “trio" by the composer) are closed B sections, Examples in both Parts Il and IV exhibit a variety of key relationships between the A and B sections, as well as different harmonic-structural plans within the sections Part Ill has four pieces clearly in or deriving directly from the "minuet and trio’ tradition. The third movement of Beethoven’ Op. 2, No. 1, with both A. and B revealing very typical harmonic plans, may serve as an introductory example. Haydn’ "Clock" Symphony, third movement, which is given in score, has many ‘extended phrases. The E minor Allegretto of Beethoven’ sonata, Op. 14, No. 1 is Interesting for its structural use of VI. Finally, the second movement of the string quartet, Op. 130, of Beethoven shows the kind of compression and modification of traditional form typical of his late work. All these might be compared with Pare IV pieces by Schubert, Chopin, and Brahms readily located under "Ternary form, compound” in Index I. (Is Mussorgsky's Ballet ofthe Chicks in ther Shells also an example?) Pare Ill also has two slow movements in large ternary form that have open B sections—the E major Largo of the Haydn string quartet (useful both for the study of chromatic chords and for elementary score reading), and the formally more complex C major Largo from Beethoven’ sonata, Op. 7 Although students need to learn to recognize quickly the conventional forms, they also need to develop the capacity to discover what makes a particular work, even one wholly conventional in form, «nie any other. “What is unique to this work alone?" is a difficult question, but it should underlie all the more easily answered ones.FREE FANTASY im DMAJOR CPE Bch FREE FANTASY in D MAJOR, (Hein 160, Wotquenne 17/1) from Essay on the Tiue Art of Playing Keyboard Instruments, Part Tivo (publ. +702) Carl Philipp Emanuel Bach (1714-1788) The cighteenth-century fantasia for a solo keyboard instrument was a type of piece in which the composer attempted to capture the spirit of improvisation. As cultivated by C. P. E. Bach and his contemporaries, the fantasia contributed to the evolution of the early Classic style through its empha~ sis on “intimate sensitive expression” (Enpindsankeit) and its changes, frequently sudden, of affect. Bach ‘was especially fond of the “free” fantasia, so called because it was unmetered and also because it mod- ulated more frequently than was customary in pieces written in traditional forms. (Do freedom in rhythm and freedom in tonality somehow go together?) Ae the end of his famous treatise on keyboard playing (the Essay cited in our title above), Bach, in a chapter on improvisation, illustrates the free fantasia with the short example given on the follow- ing page.' This example differs from his other published fantasias in that it is preceded by whar Bach «alls its “Iramework"—a short figured bass. By adducing such a construct, Bach seems to imply that improvisation is to be understood as the elaboration of something simpler. His explicit references to the framework concern certain technical details. ‘Write out a realization of the framework in a simple chordal style as a first step in exploring its relation to the fantasia. Concerning the spot marked with an asterisk (+), Bach says tha¢ the three bass tones B}-A-G are "purposely omitted from the piece as performed.” That is, these notes are only implied in the fantasia itself. (Try putting them in.) Speaking of the chord just belore the asterisk, Bach says that the change from this seventh chord on B to the following {on Bis an “lipis'—that normally a § chord on B ora triad on C would precede the $ (Listen to how such inserted chords would sound.) Finding a convincing interpretation of the fantasia’ rhythms is a challenge. Bach gives less advice in this area, and his score does not make his wishes entirely clear. At the outset he writes the time signature C, but he says (earlier in his book) that this is only a convention. It is clear that the piece is not in common time with the bar lines simply omitted. On the other hand, Bach does not per- mit total rhythmic license either, for he writes: "The note values have been written as accurately as can be expected.” Moreover, certain passages in the fantasia clearly do create a feeling of duple meter. ‘Where? How? Do any points seem to call for a particularly emphatic downbeat—one that would help define the larger shapes of the piece? On one matter Bach is quite explicit: “Each chord," he writes, “is [to be] arpeggiated twice."* Another fantasia is given on page 203. For more on C. P. E. Bach, see the introduction to Appendix B (page 554) and the preface to this book, page iii.” "The Eey is translated by William). Mitchell Norton, 1949) For Bach dscuston ofthe fee fantasia sce page 430, 2 Eznest Feral in his Die Inpreisaton espn as nan lbndirenabedndche Ait (Cologne, (956, Ene. tans 1961) suc ach afpegeated cho‘ be rolled upward (hice) in 32nd notes: 3 Advanced sudens may wish 10 see Heivich Schenker wel Annan stay of he ach fantasia in hs “Die Knit dy npronioin"(The rt ol Improvsstion), which sin volume tof his Des Mestre i derive (Drel Masken Verlag, 1925. repr Geore Ole 1974) An Endish ‘tanlation ofthe ence Mastek, tobe publshed by Cambrie Univesity Press. in preparation. 145| PART THREE — Classical Compositions FRAMEWORK Allegro i 6 fF 297 s30f mage t2 6 Berg Tegarg TE FANTASIA.STRING QUARTET in G MINOR, Op. 74, No.3 Haye STRING QUARTET in G MINOR, Op. 74, No. 3 (Hob Ill'4) (1793) first ard second movements Joseph Haydn (1732-1809) ‘The string quartet, a relatively recent development in the history of music, reached its first high point in works of Haydn beginning in the early 1770s. These two movements from Haydn's much later Op. 74, No. 3 are typical of his quirkiness and wit. Identify the themes and keys of the first movement. Comment on the point of recapitulation What is the significance of the key signature change? The many chromatic chords of the second movement will reward study. Explain bar 8. How does it relate to the rest of the movement? The first, third, and fourth movements are all in G minor or major. What is a movement in E major doing in this environment? Later examples of string quartet writing are on pages 291 and 484. Allegro Violino T Violino Viola Violoncello. © |Clasical Compositions — PART THREE |_uss =—a HL “Ty Gs s152 PART THREE — Classical Compositions @PIANO SONATA in E FLAT MAJOR, Hob. XVU52.—Hlydu 158 PIANO SONATA in E FLAT MAJOR ‘Hob, XVI's (1794), frst movement Joseph Haydn (1732-1809) ‘One of Haydn's last piano sonatas, this work embodies a youthful inventiveness in a ripened language only age can command, “The nature of the various themes, the abrupt modulation at bar 68, and the chord background of bars 109 and 110 are among the many details that deserve close investigation.* Allegro motersto — EY Ff TFleinch Schenker analyzes his sonata in the did issue of De Terie (Vienna. 1922 republished by Universal Editon). Of partic imeret shi bar by-bar eduction showing both te bate hythm ofeach bar and the baste voice leading, A canlation by Wayne Pe isin Thani, vl 3, 1988, 9.105.PIANO SONATA in E FLAT MAJOR, Hob. XVU52. Heyy 155 i a ‘ ® 28.0.0 8 ; HE a of ir154 PART THREE — Classical Compositions156 PART THREE — Clasical Compositions @ 4PIANO SONATA in EFLAT MAJOR, Hob. XVIS2. Hyde 157 Sse P158 PART THREE — Classical Compositions ®PIANO SONATA ia E FLAT MAJOR, Hob. XVUS2.—Flnyie 159 _ fle b>160 PART THREE — Classical CompositionsSYMPHONY No. 10 i DMAJOR Hoe SYMPHONY No. 101 in D MAJOR, Hob, Vso (4794), third and fourth movements Joseph Haydn (1732-1809) In his twelve last symphonies, written in London betwen 1791 and 1795 for concerts produced by Johann Salomon, Haydn reached the summit of his achievements in that genre. One of them, Symphony No. 101, has been dubbed "The Clock" because of the rhythm of its second movement. “The third movement is a typical symphonic minuet and trio. It may be compared with the other minuets and related forms in this book. The fourth movement, though in a form rather usual for final movements of Classical works, contains a number of surprises. Ti Menuetto ‘Allegretto Violino Vola Violoncstio « Contrabaaao ® ba Sire as w= A Timp. mu Ve, ve Reprinted frm Peters Edition No. 102 Reprint petsiongrane bythe publisher, CF. Peters Corporation, New York 161162 PART THREE — Classic BS & é zl 0 E SSS ai cn A pd Se mA in SEL aS a ESEEEe a ma pee Fe a = = Spee See a : = 0 Z + gs ee ese aa & ilae TTS ie at a olaiihh eéade é a sated 2 ee saa EEE 3 eR aS SS AO Pal adil Eee = . pcre z aS SERBED ee ma f mE aa = tou Heda pe ff =p = S Ss Es 4 SESS - fee #00 Tare] « eae fee a ae ase e ite > Se eS Be Sas ° Be ar Soe g aS SS" Gps Sr SSeSRo Hone 163, SS = aie 0: = - She] SSS Sait nN I a= is Sill pole ele ele cle ele cleclerlecle” ol eee ee rE =m faa ee ae ’ pp ee op #, - ROT Ge Fg eae a a AST or = = Riana ee oT Cy = aay ay zs pare SSS Se Sa“ Hala ee =] FasP set Sess ue a ied FB FE Soe Lf ae = Ene [yes] =] oP ere PHS SS Sa Sa ™ eS Sa ee 5 Snel ra see a i, ae 1 =e ie = 00 Dr fe Hes ay aoe = Faye aS =p oe a a= JHE a re — ee "SE164 PART THREE — Clasical Compositions #7: ¢@ # G ¢ ge beae at & a ee I we al a af Ss Is, lL coltson pees re SS Se A, EF a + mu aot se eler —— = oe B= $—$-t 1109 See at Eee i ce in a ce Sa 7 3 ae ees FS SA GS eee ee2 ss di S ito — ort = Se Si ate a a =| * =A Z — Ccee ae ae —a == eee ee eet ie ee a ES [erg el oes Fpl a as Lett Beier - 7 477 Faster Se aa = Richa) ert ed SRS SSS I es Sits | — = - Sees 471 = = saa = = SS ae SS aly 1 aS ee3 edd Ld dgey : : f SSS Saat = | ws Ment nae ae ap a oR =e Pesan eee = 8 a igen See = = — ou Bae eg] ~. = al peerless ates a 3 ae a = =) teint a | # SS] « Z @z fey 2 EH = Sie *| Fee — tie ae | = FS Sao = ae Sea a Lett! pte eee ee dl : Ss Saiyan at & ® =3| 2 4 | fpeerttnte eg) ——- — = a = c= peer TRF] a =e =f) = if 4 ® ®aa =a . ——S SS = he) Rea ea tap h eal is = aan =e] fasaias ieseddya| Ft 7 = pte se RD ai ae = =i = = = Weatvaa" svasvaye 4 a] @z See : a = - al = S = =| ~ Figen te = “| \ i 7 @z SREP Ramya Sa aaa]. = — | 2 Ses Se it ages Sat = . = = : e Saas FH @, === == 2 o ‘i —=5) 2 fa #i¥egeeuaed a SS : = 7 a —=9G) * z a! A at * = SSE SEE =p] Z u et | te Say £ te tl ha me ; 3p) © @pee SS PRS at vet? pig SS ae SSSaSes= ae =a 3143 stm Were ee S53 SS Ce as: czecaes Hon ie =e =! = = 2 ieetecaee Te = faassen “ “F Fo Fe To an eee aSYMPHONY No, 101 nDMAJOR fey 175176 PART THREE — Classical Compositions SONATINA in G MAJOR Op. 36, No.2 (publ. 1797), first movement Muzio Clementi (1752-1832) Clementi was a musician of such achievement that in 1781 he and Mozart engaged in a “friendly” pianistic duel. It ended in a draw, but Clementi later altered his playing style in Mozart's direction. Also a great pedagogue, he trained many distinguished pianists of the next generation, His sonatinas are still uscful to students. What is the form of the example below? At what point does the Piece markedly increase in tonal motion? Compare the D major chords in bars 3 and 35-36: Do they “feel” the same? Allegretto,SONATINA in G MAJOR, Op. 36,.No.2 Count 17 THEME WITH VARIATIONS from Piano Sonata in D major, K. 284 (17752) Wolfgang Amadeus Mozart (1756~1704) Variations for piano were popular throughout the Classical era (and beyond). Many were written 1s independent works; others formed movements of sonatas. This set, the third and final movement of 2 sonata, is based on an original theme. As in all examples of the genre, the theme is itself an clabora tion of a basic melodic and harmonic substructure—the key to the variations. Rich in elaborative devices, the work is suffused with Mozartean wit. Which measure creates an unexpected rhythmic bump every time? For a comment on the performance of the appoggiaturas written in small notes, see the preface (o the B flat major sonata, K. 333, on page 188.178 PART THREE — Classical Compositions Tema, TP ER‘THEME WITH VARIATIONS from PIANO SONATA in D MAJOR, K.284 Maz 179 Yar. IT. fe ee 3 be‘THEME WITH VARIATIONS from PIANO SONATA in D MAJOR, K. 284 Moca 181180 PART THREE — Classical Compositions182 PART THREE — Classical Compositions 4, i Q 4 Yar. VII. d Minore. £—_ ee‘THEME WITH VARIATIONS from PIANO SONATA in D MAJOR, K.28¢ Mexat 183, Var. VIII. Maggiore.184 PART THREE — Clasical Compositions Var. X.® oP “THEME WITH VARIATIONS from PIANO SONATA in D MAJOR, K.288 Mesut 185 eF2P ve eh og ffttietpes eo 5 * =186 PART THREE — Classical Compositions @ ce aS, tt > ae peiecioet ® Fol Pf. “)— (rese) Ce eee ee = t @Q 2) Pabst op 6.9, ‘orese) a"THEME WITH VARIATIONS from PIANO SONATA in D MAJOR, K. 284 uut— «187. Yor, XII. (Allegro) @® = tf decrese. Pl Tn pT Piecrere’ !—P @ Ue ee188 PART THREE — Classical Conpositons PIANO SONATA in B FLAT MAJOR K. 333 (1783) Wolfgang Amadeus Mozart (1756-1794) This work, given here in its entirety, has been called by Alfred Einstein a realization of the ideal of Mozart piano sonatas.” Remember that the opening four notes are performed as four sixteenth notes, and that all the small appoggiaturas are generally to be played on the beat. Their lengch depends on their context. The ‘one in bar 27, for example, is to have the length of an eighth note, the ones in bar 7 of the second move- ment are thirty-seconds, Are all appoggiaturas written small” What is the advantage of so writing them?® ‘The thirel movement imitates another type of composition. What is it? And what is the source of the melody in bars 76-80? legro Fed Einstein, Noort His Character, i Work (New Yorks Oxtord, 1945), p. 240. Charles Rosen comment rely on theft mave ments bridge section sn his Sonata Fare (Norton, 1988), pp. 229-230, For aemark onthe third movement, se his Thr Cla Spl Viking, 1979), 9.45 ® An informative article on ths anet, with many examples, is Ernst Oster “On the Meaning ofthe Long Appoggiatr,"(trans. by R Kesosky) in Thay and Prater Ithaca, NY. Music Theory Society of New York State, Aes 1982), p20.PIANO SONATA in BFLAT MAJOR, K.333 Msn «189 b o190 PART THREE — Classical Compositions @ (4 y we) ld em a (#8PIANO SONATA ie BFLAT MAJOR, K.333 Mout 19192 PART THREE — Classical Compositions |PIANO SONATA in BFLAT MAJOR,K.333. Moz 193 RA AH 2D cerexcendo194 PART THREE — Classical Compositions ® eee!PANOSONATAIBRLATMAIOR K.35 Mn «195 | (eresey = @ pass nePART THREE — Classical Conpesitions @ creedPIANO SONATA in BFLAT MAJOR, K.333 Maan 197 Allegretto grazioso za = os i ® A198 PART THREE — Clasical Compositions ©, FOSS Fy fy £ Ept P BD moment Crescendo ir PPIANO SONATA in B FLAT MAJOR, K.333 Moxun 199200 PART THREE — Classical Conpsitions @. ETPIANO SONATA in BFLAT MAJOR, K.333 Mesut 201 ad libitum202 PART THREE — Classical Compositions sapivetFANTASIA in C MINOR, K. 475° Moot 3 FANTASIA in C MINOR K. 475 (4705) Wolfgang Amadeus Mozart (1756-1701) In the creation of a fantasia, the composer does not adhere to a pre-established form. This is not to say that fantasias are formless, but that each has a unique form. The idea is to control impro- visatory flights by means of an overall direction. In this bold, uninhibited fantasia, with its astonishing lack of key signature, how does Mozart achieve unity from such violently contrasting parts?” Adagio. 7 Foran analysis of his Farts, with a raph showing the bass stuctre, see Oswald Jonas. Improvisation in Mozarts Klavierwerenin Ios linc Salsbur Internationale Stiftung Mlecarteun, 1067), pp. 179-181, Another 9 Fels Salzer, Siac Pig (New Yorks Dover, 192), vl 2, Graph S07204 PART THREE — Classical Compositions 569 EF vcrescs ¥etando)204 PART THREE — Classical Compositions go SSF corese) Set” ohm featando) DF cordon * ¥ QD (f) (PyFANTASIA in CMINOR K. 475 Mbzan 205, e @ SBs3 a Fi D206 PART THREE — Classical Compositions @ategro. sf Pal 7 F verese) ere) Oo DB (oreee,) Q ®FANTASIA in CMINOR K.475 Masut 207, a - = :208 — PART THREE— Classical Compositions @, Pid Allegro. byFANTASIA in © MINOR, K. 475210 PART THREE — Classical Compositions ® (dwerese) @ (ral, Pare) fan ie rorHeH do) SD St 7¢ pores 9 foe te GS ee ge ca ‘Tempo primo.FANTASIA in C MINOR, K. 475 a| aro PART THREE— Csial Compositions PIANO SONATA in B FLAT MAJOR, K. 570 (1789), second movement Wolfgang Amadeus Mozart (1756-1791) ‘What is the form of this movement? How does it differ in form from the Chopin mazurka on page 3347 There is clearly an important change of key at bar 13, what is the next key of comparable structural weight? Adagio. eee tiePIANO SONATA ia B FLAT MAJOR, K. 570 Mut DB @ =< a —_ oT21 PART THREE — Classical Compositions @—_ «> PIANO CONCERTO in A MAJOR K 488 (1786), frst movement Wolfgang Amadeus Mozart (175 791) Mozart's 27 piano concertos, many of which he composed for his own performance, occupy a particularly significant place in his work and in the history of the genre. This example not only has great appeal, but clearly displays the expected aspects of first-movement form. There is such a wealthPIANO CONCERTO in A MAJOR, K. 488 inzart of variety in Mozart's piano concertos, however, that nearly every one of them has some unusual structural clement. In this example the theme starting at bar 143 can be seen as such an element. How does it fit, or not fit, into the conventional conception of sonata form? More important, what role does it play in this composition? And exactly what is going on in bars 149-156? ‘Mozart wrote down cadenzas for only some of his concerto movements that required them. For K. 488 he not only wrote one but, contrary to his usual practice, entered it into the manuscript Consider its dramatic role within the movement as a whole, its own dramatic shape, the basic voice teading that gives it coherence, and its thematic links, if any, with the main body of the movement.® Allegro. 1 Flauto 2Clarineti ia A 2 Fagot 20orni ia A Klavier Violino T Violino Viola Violoncello & ‘Contrabasse © ot 7 clanic commentary is C Cindlestone's Moat and Fis Pina Cones (London, 1948 epeinted, NLY.-Dover, 1964) Also informative is Pocdnch Blames preface 1936) to the Exlenurg score (No, 736). Tovey discusses the movement in Ezy Mal Anas (Oxford, 1956), vol. 3, pp. 37-38,aH =F a ae St aD = =} a mm Sie eae 7 eS DE ail pS ergy PBS a imal a Sa” Paar seri « @zg i il | & 5 B 3 TW ] ,PART THREE — Classical Bana Fe ae re a £3. Bre Spa ete SSS =F» === 5 i aa 2 as 2 © 5 == Se] eS =e al = Fi Ss pe ore etna etl SO =a ===] x rr a Licidagasiag Ft PF (ere a Tina 1) rent | + rereeee “i inal « ®3 ; sat ata \ fe la | i | ae Fa Hl lel 8 ‘i Ie | i 5 t-® iy pt = t= — S| ts-eggy te stat othe iuiad F =S 2, Eee = = : a — | #3 Psy 3 Cire | cirri ge f. f f ® aH zat a8 zl222 PART THREE — Closscal Compositions vl s sa “hig 2 32 | 2 Nora PIANO CONCERTO in A MAJOR, K. 488225 Mozart PIANO CONCERTO in A MAJOR, K. 488PART THREE— Ci 3 Seged dae ds oa SSS “oad wex a uh eH gy eal i © XY 4 | )229 Moca PIANO CONCERTO in A MAJOR, K. 488 Be tt x Hy ai ®: i SS oui a ah A) ide a ae 5 2 =au, ee eee | ‘a3ih ‘ll eu aE233 ‘Morar PIANO CONCERTO in A MAJOR, K, 488, STATA HIS aH. (peed STIS SSS i tee A res a Pa ieBhat chldl gs Se236 PART THREE — Classical Compositions ‘THE BIRD-CATCHER'S SONG. from The Magic Flute (784) Text: Emanuel Scbikaneder Wolfgang Amadeus Mozart (475 791) ‘Mozart’ last opera is a sublime allegory on universal themes, at once comic and serious. In its fairy-tale-like story, Papageno represents the simple ordinary man—the child of nature. His job is catching birds for the Queen of the Night, but what he really wants to catch is a wife. Soon after the ‘opening of Act I, he makes his entrance with this song. 1 2. 3. The bird-catcher am I The bird-catcher am I, Wall the girls were mine, cand always merry! and always merry! TA fetch afi lump of sugar As bird-catcher I'm known As bird catcher Fm known 14 chose the gir ike the best bby young and old throughout the land. by young and old throughout the land. ad give the sugar lump to be. iow bow to lure then, Td like to havea ne for girls ‘She'd hiss me then most tenderly and make then understand my pies and catch thm by the dozen sled he my wife and I er ma So Im bappy and aay, Then 1d lock them up with me ‘Shed fll asleep beside me then, Sor all the bitds are mine and all he girls would be mine Tad rock ber lke a cild to sleep ‘The music, in popular style and composed of the simplest chords, non-chord tones, and modu- lations, is unusual for its use of Pan-pipes, which Papageno plays between phrases. How is this ‘composition subtle—how saved from monotony? (Omitted here is the orchestral introduction, which is identical with the song.) Andante Papageno 1Der Vo-gel- fia-ger bin ich ja, stets 2Der Vo-gel - fin-ger bin ich ja, stets 3.Weon al- le Mad-chen wa - ren mein, s0 oS . . soos. A > Orchestra P (reduction) @ fa - stig hei - Ba hop-sa- sa! Ich Vo-gel-fin-ger bin be-kannt bei Tu = stig hei - Ba hop-sa- sal Ich Vo-gel-fan-ger bin be-kannt bei tausch-te ich brav Zu-cker ein: die, wel-che mir am lieb-sten war, der Pare ee Reprinted from Peters Etions No, 71, Reprint permission granted by the publisher, CF Peters Corporation, New York‘THE BIRD.CATCHERS SONG from THE MAGIC FLUTE Meat, «237 De und Jung im gan-zen Land. undJung im gan-zen Land. ich gleich den Zu-cker her. ® mit dem Lo-cken um-zu-geho,und mich aufs Pfei-fen zu - ver-stehn, (pfeitt) Netz fir Madchen méchte ich, ich fing sic dut-zend-weis fir michi Kid-te sie mich zirtlich dana,wir sie’ meinWeibund ich ihr Mann. es ote: ore Drum kann ich fron und lw-stig sein, denn al - le VO-gel Dann sperr - te ich sie bei mir ein, und al - le Mdd-chen Sie schlief an mei-ner Sei-te ein, ich wieg - te wie ein eee = = _— ® SS (teint) sind ja mein ‘wa - reo mein, Kind sie ein, = Pyeee238 PART THREE — Classical Compositions PIANO SONATA No. 1 in F MINOR, Op. 2, No. + (17999), first and third movements Ludwig van Beethoven (1770-1827) Beethoven’ 32 piano sonatas, a comerstone of the Classical repertoire, illustrate each stage of the composer's creative life. Their study will greatly reward not only those who play them, but all who take interest in music and its structure. In examining the following movement, consider the thematic design, the sections of the form, and the broad tonal structure, At a Tater stage of study you might consider motivic relationships such as that between bars 2 and 140-142. The later bars describe an enlargement of the former. Similarly, the descent C-BI-Ab-C-F-Es, first appearing in bars 7-8, will be found in enlarged and elaborated form elsewhere in the movement.” What is the dramatic effect of these enlargements? Allegro. Toe Pare 2 Fcich Schenker analyzes she ene sonata inthe second volume of Dir Tema op. cit. Fr diction of his analysis see Charles Burkhart. “Schenkers’Morivic Parallelism, "oul of Mase Tear, vo. 23,1978, . 1391 Each moxement of all 32 sonatas receives Pa:\\- Allegretto. x erg teas this intresting qvestion inher art, *The Musial Significance of Beethoven's Fingering inthe Piano Theda Form, vol IV (New York: Columbia University Pres, 1976), 9.237PIANO SONATA No.1 in FMINOR Op.2,No.t Bethan 243 Men.DS.244 PART THREE — Closscal Composivions PIANO SONATA No. 4 in E FLAT MAJOR. Op. 7 (sr90-17072), second movement Ludwig van Beethoven (1770-1827) Study the form of this music of “gran expresione” How does it differ from that of the slow move ment on page 248, which Beethoven composed at about the same time? A striking detail is the bass F+-Fs in measure 4, What becomes of this idea in the course of the movement?" Largo,con granespressione, fap Tp | br Roger Kamien offers insightul comment on this movement in “Chromatic Deal in Beethoven's Op. 7."in Th Mac Rave (AugustPIANO SONATA No. 4m EFLAT MAJOR, Op.7 Ration 245) Ree rempretenuto. == = Tempre staccato. D®tensto he staccato.”246 PART THREE — Classical Compositions @PIANO SONATA No.4 in FLAT MAJOR, Op.7 —Becbess 247248 PART THREE — ical Compositions PIANO SONATA No. 5 in C MINOR Op. 40, No. 1 (1796-1708), second movertent Ludwig van Beethoven (1770-1827) Sonata No.5 was the first of Beethoven's sonatas to have three, rather than four, movements. This movement reveals a form that he used more than once for slow movements, What is the relation of bars 24-27 to 28-312 Alter bar 31, where is the first full cadence? What is the significance of the chord in bar 457 Adagio molto.PIANO SONATA No. 5 in CMINOR, Op.10,No.t elon 249 ie $3" te,7250 PART THREE — Classical Compositions @ aE asPIANO SONATA No. 5 ip CMINOR, Op. 10,.No.t ethos 251252 PART THREE — Classical Compositions ctthesPIANO SONATA No.8 in © MINOR (‘SONATE PATHETIQUE), Op. 13 Dativos 253, PIANO SONATA No. 8 in C MINOR (“SONATE PATHETIQUE") Op. 13 (probably 1795, publ. 1799) Ludwig van Beethoven (1770-1827) ‘The adjective “Pathétique” in the title of this work seems to have come from Beethoven, or at Teast to have been approved by him, unlike “Moonlight” Sovaia, which was only a publisher's concoction. At any rate, the word is appropriate. It means full of pathos, or moving the feelings, particularly the feeling ‘of sympathy for suffering. ‘The quality of such feeling is noble, possibly tragic, not merely sentimental. The first movement, both in its emotional depth and in its structure, far exceeds anything Beethoven had so far written, What is unusual about its form? Does the structure intensify the mood?” It was uncommon to indicate in a sonata title that a single general mood governed the entire work. Compared to the first movement, are the second and third equally pathitique? I Grave. St > ifacea subite Hl Allegro ‘Advanced analytic comment on this movement sn Ernst Oster arc, “Regstr and the Large-Scale Connection Joa f Ms Theory Abn 1961-99. 67-71