Beethoven, Ludwig van : Sonate für Klavier Nr.2 1.Satz Allegro vivace
Work Overview
Genre：sonata
Total Playing Time：6 min 30 sec
Copyright：Public Domain
Commentary (2)
Author : Okada, Akihiro
Last Updated: January 15, 2019
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Author : Okada, Akihiro
Movement 1: A Major, 2/4 Time, Sonata Form
Exposition
The principal theme consists of contrasting motives: a descending leap in three-octave unison and a stepwise ascent. After its consolidation (m. 21–), it leads to an improvisatory transition (m. 32–).
The subordinate theme (m. 59–) appears in the dominant minor, E minor, and is repeated, ascending by minor thirds. After an interlude of musical ideas in the dominant major, E major (m. 84–), the previously presented improvisatory transition reappears, leading to the coda.
Development + Recapitulation
After the exposition concludes in E major, a progression of E (single note) → E + G + B (triad) → E + G (double third) is inserted, leading to C major (the mediant of the parallel minor of A major), which initiates the development section (m. 123–).
First, using the descending leap motive of the principal theme, modulations repeatedly occur through C major, A-flat major, and F minor. Upon returning to C major, the stepwise ascending motive then appears in F major. The stepwise ascending motive is developed through repeated modulations to D minor, G minor, and F major. When it shifts to A minor, the parallel minor of the tonic, the dominant is prolonged, preparing for the recapitulation.
The recapitulation (m. 226–) adheres to the norms of classical sonata form, restating the subordinate theme (m. 279–) in the tonic (or its parallel minor). The same transition and coda as in the exposition are transposed to the tonic, bringing the movement to a close.
Author : Ooi, Kazurou
Last Updated: December 5, 2019
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Author : Ooi, Kazurou
Introduction
This sonata is dedicated to Haydn. It was composed with Haydn's music in mind. Haydn's music is very optimistic, with instrumental music like string quartets and orchestras in the background, and full of humor. We will begin our understanding from this point. Assuming that learners capable of playing this sonata are junior high school age or older, I will proceed with this discussion. Therefore, I hope that learners themselves, rather than instructors, will read this and find it helpful.
Opening Measures
In the opening four measures, a case sometimes seen even with professional pianists is that measures 1 and 3 become overly engrossed, causing the tempo to accelerate only in these spots. The reason is not counting the eighth rest on the downbeat of the second beat. Although an eighth rest produces no sound, by feeling the rest and sensing the downbeat of the second beat, one should be able to proceed with accurate rhythm. This pattern appears repeatedly later on, so please be careful.
Statement and Conversation (Measures 8-20)
The statement from the upbeat of the second beat of measure 8 to measure 12 is an important part of this piece; conceptually, please understand it as an “authoritative declaration.” If the melody line E-D-C# in measures 11-12 is considered an opinion or impression, then from the upbeat of the first beat of measure 12, the bass enters and repeats the same melody in measure 13. This is where one's own opinion regarding the aforementioned E-D-C# is stated, a male response to measure 11. Then, the female repeats the same melody in the soprano at measure 15. Understand this as an argument or a conversation. And they both become friendly in measures 17-20.
Continued Conversation (Measures 22 onwards)
Next, the male begins to state his case from measure 22. And for the E-D-C# in measure 25, this time the female responds at measure 27, and the male responds again at measure 29. From this point onward (measure 32 and beyond), it can be interpreted as a fast-paced conversation.
String Quartet Influence
The smooth, horizontally flowing writing in measures 11-18, among others, is undoubtedly inspired by string quartets. Learners should imagine string instruments, eliminate harsh attacks, and strive for a smooth horizontal flow rather than a vertical separation.
Drama and Direction (Measures 58-78)
From measure 58 onward, be mindful of the drama and proceed with direction without relaxing the tension until reaching the goal at measure 78.
Measure 84 and Development Section
Measure 84 depicts a good mood. From here until the development section, proceed with a bright and joyful spirit.
I don't think the development section needs explanation, but please vary the expression of the same statement through the chords.
Argument as Comedy (Measures 181-202)
In measures 181-189, three people start speaking before others finish, leading to an argument. Measures 190-192 show a peacemaker calming things down. However, again, in measures 193-194, though a bit shorter this time, an argument begins, followed by the peacemaker in 195-197, another argument in 198-199, the peacemaker again in 200-202, and gradually everyone calms down. Hold such an image in mind. Even though it's an argument, it's not serious at all; consider it a comedic world.
