Beethoven Op-2 Essay

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In the first movement of Beethoven’s Piano Sonata No. 1 in F Minor, op. 2, the composer draws on a variety of stylistic strands that contributed to the evolution of the mature classical style. Through an analysis of specific musical elements, which include references to form and style, structure, harmony, thematic material, dynamics and textural considerations, I will show how Beethoven adheres to the formal and stylistic conventions associated with the sonata during this period, as well as how he asserted his own voice, creating his own “Beethovenian” style. Beethoven makes use of a multitude of styles throughout the exposition, moving from style galant to Sturm und Drang and ending in empfandsamer. The primary theme in mm. 1-8 exemplifies the qualities of style galant. Beethoven uses a two-measure long motive repeatedly in the right hand and block chords in the left. The dominant right hand melody with chordal accompaniment in the left is an indicator for style galant. In m. 9 he begins the transition away from F minor, and arrives at A flat Major in m. 20. As he introduces new material in mm. 15-19, Beethoven continues to use these qualities. After the transition comes the secondary theme in m. 20. The secondary theme displays a legato-lyrical ascending pattern with chromatic points, varying drastically from the much more detached melody in the first primary theme. The secondary theme starts at piano like the first theme, but varies its dynamics with forzandos on beat
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