Theoretical Analysis Second movement Beethoven piano sonata No.

8 by Daniela Herrera

During the year 1798, a young Beethoven wrote music and played concerts throughout
Germany while also dealing with the development of his deafness, which began in 1796.
One of his most important works, Sonata No. 8, also known as "Pathetique," holds a
powerful and emotional meaning and became a model for later romantic composers. The
focus of this document is a theoretical analysis of the second movement, "Andante
cantabile," starting with the question of its form.
The second movement of Beethoven's Piano Sonata No. 8 follows a rondo form, which
is often described as the balance between moments of instability and variety, and
moments of calmness and security. The form consists of a refrain (A) followed by an
episode (B), which then returns to the refrain (A). This balance between two contrasting
elements creates the feeling of equilibrium in the music.
To understand the rondo form better, it's essential to know that the refrain (A) creates a
sense of familiarity, and the episode (B) provides variety by introducing new material.
By alternating between these two elements, the rondo form achieves a delicate balance
that keeps the listener engaged while also creating a feeling of returning home.
The use of this form creates a feeling of familiarity while introducing new elements,
making it one of Beethoven's most memorable works. The next diagram explains two
types of rondo form

Five parts Rondo form A1 B A2 C A3

Seven parts Rondo form A1 B1 A2 C A3 B2 A4

The Andante cantabile of the sonata is a five parts rondo form because it has three refrains
and two episodes, also the composer added a coda, the next table shows each section:

Measure 1- 16 17-26 26-28 29-36 37-44 45-50 51-66 67-73

Sections A1 B Retransition A2 C Retransition A3 Coda
Key Ab Ab-Eb Eb Ab ab Fb Ab Ab-Eb
I I V V I i I I V

Let's now take a closer look at the first refrain (A1) of this movement.. We will start with
a description of the harmony model. The main tonality of this movement is Ab major, and
Beethoven begins with the Tonic chord in root position in measure number one, followed
by a dominant seventh in third inversion. The first three measures have the same
interaction between the tonic and dominant chords. Measure number four shows the first
half cadence with the dominant in root position (V). The harmonic model, until this point,
is simple, moving between the chords mentioned before.
A new dissonance appears in measure number five with the half-diminished leading tone
chord in second inversion, followed by a dominant and a secondary dominant seventh of
the supertonic in measure number six. Then, the composer writes the first perfect
authentic cadence of the movement, using the dominant seventh chord again, but this time
in root position, followed by a root position tonic chord as well. It's important to highlight
that the cadence doesn't occur on the first beat of measure number eight because, in this
strong beat, the composer uses a suspension (5-8) in the right hand, giving a feeling of
stretched tension to the listener.
The second part of the refrain (A1) starts on measure number nine and has the same
harmonic model that the first part. The use of a suspension in the right hand on the strong
beat of the measures with the cadences adds an extra layer of tension, creating a
memorable moment in the movement.

Let’s discuss about the second level analysis, the next diagram shows the general
functions from the measure number one until sixteen

T——— PD D ——D T ——— PD D—— D T

Hc PAC Hc PAC
m.4 m.8 m.12 m.16

In conclusion the second level analysis follows the standard functional model T PD D T.

Periodic design
Other element to discuss is the periodic form, is important to understand the construction of
this first refrain. The next illustration shows the periodic analysis diagram.
This passage features a clear perfect authentic cadence in measure eight, which is stronger
than the preceding half cadence in measure four. It is a contrasting continuous period,
distinguished by a different thematic area and rhythmic structure in the second phrase.
While the first phrase has a distinctive rhythm, the second phrase features a more active
melodic movement that leads to the cadence (see the attachment). Another contrasting
element is the use of different melodic intervals, such as the diminished fifth jump in
measure six followed by a descending line in the next measure, which creates a sense of
answer motion in contrast to the upward movement in the opening phrase.
The period is continuous because of its harmonic structure, as evidenced by measures
four and five, where the half cadence is built on the dominant chord and the first beat of
measure five features a leading tone half diminished in second inversion. This harmonic
motion provides a sense of continuity and flow. The subsequent section of the refrain
employs the same periodic structure as the previous section but with subtle melodic and
harmonic variations. For instance, the bass line and melody in measure eleven move in
contrary motion, creating a mirror effect and adding variety.

Style and musicality

Analyzing the texture of this composition is crucial, as the three layers of voices in the
refrain play distinct roles. The melody, with its gentle and serene character, evokes the
image of a delicate leaf falling from a tree. The middle voice, working in sixteenth notes,
functions as the wind that helps guide the leaf in a certain direction. Finally, the bass,
closely following the melody, serves as the foundation on which the other voices rest.
It is essential to keep these conventions in mind, as the subsequent sections (episodes and
transitions) feature different textures that mark each section of the rondo form. At this
point in the composition, the dynamic level remains soft, with a piano volume.

Comparison between Refrains

In this section, I will examine the key differences between the A1 and A2 refrains. While
both sections share the same harmonic design and periodic form, there is a significant
contrast in their length. Specifically, the A1 refrain spans fifteen measures, while the A2
refrain covers only seven measures, representing exactly half the length of its counterpart.
Moving on to the A3 refrain, there is a notable deviation from the opening refrain,
particularly in the rhythm of the middle voice. In this section, the rhythm is composed of
triplets, and the articulation differs from that of the A1 refrain. Despite these differences,
the A3 refrain retains the same harmonic design and periodic form as the opening refrain.
Overall, these three refrains demonstrate an interplay of repetition and variation, with
each section building upon the previous one while also introducing new elements to
maintain interest and complexity.

Episodes B and C
The first episode of the movement begins abruptly in measure seventeen with a first-
inversion tonic chord. In measures eighteen and nineteen, the harmony features an
interplay between the secondary dominant chord and the minor sixth chord, leading to the
first modulation to Eb in measure eighteen. This is achieved by tonicizing the submediant
of Ab major and using it as a pivot chord for the new tonality. The following image
illustrates the harmonic model of this section.

The retransition occurs in measures 25 to 28, which stands out from the previous section
in terms of texture and rhythm. The sixteenth-note pattern in measure 27, where the
middle voice moves chromatically while the outer voices remain static, creates a sense of
instability that resolves back to the refrain. The modulation from Eb to Ab occurs in
measure 28 on the second beat, using an Eb tonic chord as a pivot chord for the dominant
of Ab that resolves in measure 29.

The second episode (C) is the most contrasting section, starting suddenly in measure 37
without any preparation. The first chord is an ab minor tonic chord in root position, and
the composer uses mode mixture to switch from a major character to a minor tonality.
This tonality is developed for five measures using V and i chords, and in measure 42,
Beethoven modulates to Fb major using the E major chord and its dominant as an
enharmonic modulation, as shown in the following picture.
This episode also follows a sentential design, comprising of a statement and restatement,
each consisting of two measures. The development phase, which lasts for four measures,
follows this. Therefore, the sentential design of the episode is 2+2+4.
The statement introduces the basic idea, which is constructed using two main motives.
The triplets play an essential role in this section as they serve as a metrical modulation
that aligns with the movement's context. Additionally, the eight notes played by the right
hand are a reminder of the principal melody used in the opening refrain. In measure 42,
the composer expands on this basic idea, creating a dense texture in the bass line and
using rhythm reduction techniques in the upper voices to increase the tension in the
middle of an unstable area. During this section, the composer employs sf (sforzando) for
the first time to enhance the momentum.

The retransition to the third refrain begins in measure 45 with an Fb tonic chord in root
position followed by a second-inversion dominant chord. In measure 48, the composer
uses a fully diminished VII chord with the seventh in root position to create tension that
resolves through a common-chord modulation back to the principal tonality of Ab. The
repetitive and insistent rhythm of the voices helps to reinforce the sense of returning
home. Notably, the dynamic range increases from piano to mezzo forte, adding energy to
the announcement of the return.
The coda of the movement starts in measure 66, where the composer employs interactions
between the tonic and dominant chords in the harmonic model. The texture remains
consistent, but the bass line features triplets that emphasize the important motivic
element. The predominant feeling of conclusion is evident in this section, and the melody
resumes the original motives. The following picture shows the coda in detail