Compare the Tragic Elements: Mozart Piano Sonata in A Minor,

K. 310 and Beethoven Piano Sonata in C Minor, Op. 13

By Lu Yu

Student ID: 1002266745

September-December 2022

Mozart’s Piano Sonata in A minor, K.310, and Beethoven’s Piano Sonata in C

minor Op. 13 both belong to the Classical period with tragic elements. The study of

these two elements will enable us to understand more clearly the expression of

different emotions in the minor keys, to understand the characteristics of the Classical

period, to distinguish the differences between the Classical period and other periods,

and to identify the subtle emotional changes and inner monologues of different

composers in different contexts in order to better interpret the works.

Wolfgang Amadeus Mozart (1756-1791) was an Austrian composer and pianist of

classical. In 1777 Mozart was unemployed from the Salzburg court orchestra and in

September of the same year he traveled to Paris with his mother in order to seek new

employment. During his stay in Paris, his mother died of illness. His father Leopold,

however, blamed the young composer for his wife's death, which strained their

father-son relationship. In this mood, Mozart composed the Piano Sonata K. 310 in A

minor in 1778. K. 310 which has three movements in total, in fast-slow-fast tempo,

the first and second movements are in sonata form, while the third movement is in

rondo form.
 Ludwig van Beethoven (1770-1827) was a German composer and pianist. His

works are divided into three phases: early, middle, and late, going through two

periods from Classical to Romantic. The Piano Sonata No. 8 Op. 13 was published in

1799, in C minor. It was described by the musicologist Barry Cooper as 'surpass[ing]

any of his previous compositions, in the strength of character, depth of emotion, level

of originality, and ingenuity of motivic and tonal manipulation'. 1

Beethoven titled

this piece 'Pathétique' and Op. 13 is in three movements, fast-slow-fast, with the first

movement in sonata form, and the second and third movements both in rondo form.

Beethoven adds a prelude at the beginning of the first movement of Op. 13 and a coda

at the end. 'It shows his personal character from this period, which is similar to the

style of Haydn and Mozart.'2

In terms of key, both pieces are in minor keys with tragic elements, K. 310 in A

minor and Op. 13 in C minor. In terms of color, again both have tragic elements, with

A minor leaning towards the element of melancholy and C minor towards the element

of resistance.

At the beginning of the first movement of the Piano Sonata K. 310, Mozart uses a

grace note that foreshadows the tension of the melody, an expression that never occurs

in any of his seven previous works. 'In addition to the chromatic grace note, the use of

consistent rhythmic motion is an essential element of what makes this sonata unique.'

3
The direct writing of the outer chord 'A' on the beat twice, in bars 2 and 4, gives an

extremely unsettling feeling, the source of which was Mozart's grief and anguish at
the loss of his mother at the time. From a harmonic point of view, Mozart uses

relatively simple chords, from bar 1 to bar 5, he only uses Ⅰ-V-Ⅰ-V-Ⅰ.

‘The title of Beethoven’s Sonate pathétique (Sonata with Pathos, 1797–98,

published 1799), Op. 13, announced that the work would depict suffering and

a tragic mode of expression.’4 In contrast, the opening of Op. 13 is rich in chord

changes in the first four bars: i - vii - i - vii7/v - v, vii - vii - vii - i, vii7/v - vii7/v -

vii7/v, vii7/v - vii7/v, vii7/v - vii7/v, vii7/v - vii7/iv - iv - v. This frequent change in

chord function is an apt expression of Beethoven's mood at the time when he was

suffering from and battling with ear disease.

In terms of tempo, Mozart K. 310 The first movement begins with the Allegro

maestoso, which unfolds in an atmosphere of urgency and tension, fully

demonstrating Mozart's grief at work in addition to the loss of his mother. Beethoven

Op. 13, however, adds a prelude marked Grave before the exposition.’ A slow

introduction is unusual for a piano sonata but common for symphonies, so its presence

lends the Pathétique Sonata symphonic grandeur, while its unexpected reoccurrences

deepen the pathos.’5

In terms of melody, Mozart focuses on the melodic line, which he tries to express

as beautifully as possible. melodic beauty, its formal elegance and its richness of

harmony and texture.'6 Beethoven, on the other hand, is mainly melodic in terms of

broken chords, with a richer harmonic sound.

In terms of changes in intensity, Mozart makes the first use of a wide range from
pp to ff, with ff in bar 58 of the first movement, pp in bar 52 of the second movement,

and frequent use of fp in the second movement, but the harmonic simplicity does not

make much of a difference to the intensity of the work, which is in keeping with

Mozart's mournful mood. In contrast, Beethoven's Op. 13, with its frequent use of pp

and ff, as well as sf, and the richness of the harmonic sound, makes it possible to

express Beethoven's anguish and struggle against his fate in the fullest sense of the

word.

In terms of structure, Mozart K. 310 and Beethoven Op. 13 are both in three

movements, although the tempo is one Andante cantabile and one Adagio cantabile.

The tempo is a little slower in Op. 13, and in the second movement of Op. 13 the

Romantic elements are already highlighted, with a marked growth of the melody in

the right hand and an accompaniment band in the left hand with bass melodic line,

which is a distinctive feature of the Romantic period.

It can be seen that although Mozart K. 310 and Beethoven Op. 13 are both in

minor keys, there are certain differences in the melody, variations in intensity and

structure of the works due to the composer's background and chronological nuances.

By understanding these differences, we can interpret these works better when playing

them.
Reference

1. Cooper, Barry. (2008). Beethoven. Oxford: Oxford University Press:82.

2. Maestoso, A. (2015). The Formal Structure and Biographical Significance of

Mozart’s Sonata No. 8 K. 310 Movement I:34.

3. Hung, L. C. (2019). The Increasing Expressivities in Slow Movements of

Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and

Op. 110 (Doctoral dissertation):2.

4/5. Burkhoider, J. J. (2019). A History of Western Music: Tenth International Student

Edition. W.W. Norton & Company:560.

6. Eisen, C.& Sadie, S. (2001). "Mozart, Wolfgang Amadeus". Grove Music Online.

Oxford: Oxford University Press.

doi:10.1093/gmo/9781561592630.article.6002278233. (subscription or UK

public library membership required).