The First Movement of Beethoven's Sonata Op.31 No.1 Displays Rhetorical Effects Resulting from the Harmonic and Formal Departure from Sonata Form Convention

Beethoven’s symphony No. 5 in C minor has four movements. The first movement is “Allegro con brio”. In the first movement, Beethoven uses sonata form and duple meter to express “fate knocking at the door.” When this part Played by the string’s instruments, it gives me a serious threatening and nervous feeling. In the second theme, Beethoven used Solo French horns to present quiet and peaceful fate, but this atmosphere did not last long. Low strings and descending line are bringing tough, dark and dangerous atmosphere. The second movement is Andante con moto. The rhythm is slow and the meter is triple. It utilizes theme and variations. Theme A is a recitative and played by violas and cellos. It presents a warm feeling. Variation B uses Trumpets,

As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

Many consider Ludwig Von Beethoven’s Piano Sonata No. 8 in C minor, Op. 13 as his first major musical accomplishment, more commonly known as Sonata Pathetique. Written at the age of 27 in 1798, the young composer had gained instant fame and his work was published only a year later. Beethoven, being one of the first significant musicians to work for them selves, is said to have given it the title.

8 in C minor, Op. 13 composed in 1798 focussing on musical features such as melody, thematic content, rhythm, form and structure and harmony. This sonata has been chosen for analysis as it is the most popular Beethoven sonata within the performance circuit, as it is a well known piece worldwide. Secondly, Beethoven developed Sonata form, adding more thematic contrast and contrasting melodies reflecting his own personal struggles with his progressive loss of hearing and also his failures in his love life which all contributed to the passion and despair that is depicted within the sonatas during his second compositional stage in his career.

and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme "a" is transformed into 8 different versions throughout the composition's first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,

Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.

With the finale the grand returned, peoples were at once concerned with weighty issues. The suspension was highly impressive making peoples feel something great impending. The themes were many and various. But they flowed from one to another smoothly. Then the movement was fully developed as the exuberant conclusion theme came out, fast and furiously. There also followed a series of developments some ingenious and some powerful. Then the movement went into end. The loud horn-proclamation died slowly through sublet changing harmonies, until by a modulation. Then the entire color and atmosphere of the music changed to half-light. The original halting form of the theme recurred briefly but only for a moment. With the development of the melody, in slow rhythm, soft entrances of four initial motives echoed from bass to treble leading to a timid but happy and confident reaffirmation of the motto from the first

Music is enjoyed primarily through hearing. Considering this, it seems ironic and nearly impossible for an exceptionally successful musician to have been deaf during much of his lifetime. Yet the composer Ludwig van Beethoven faced just that. Beethoven’s life started out difficult. His father was an alcoholic and his mother died when he was in his teenage years.

The resonant sound of brass generates some tension in the form of dissonant chords. The combination of unusual sounds, vivid dynamics and rhythm changes, are incorporated in the symphony by Beethoven. However there is more as the first movement goes on. Beethoven uses a minor key for a short passage. The agitated sound of strings adds some tension and drama in the movement, which is finally resolved by the woodwinds. The clarinet and flute return music to a major key and a state of calm. The minor passage is a new concept which stands out the traditional symphony. It adds a different texture that clearly departs from the leading motive. This brief minor passage is also repeated so it may be thought of as a second motive. Another striking quality of this first movement is the use of a set of chords played by the whole orchestra. It serves as a bridge to connect the major and minor motives. Towards the end of the first movement, there is a brief passage embellished by the strings while the horns and trumpets remind us the sounds of the leading motive. The lively sound is interrupted by a brief minor passage. Then, the leading motive is repeated by the clarinet and flute. Strong and bright sounds prepare the audience to the conclusion of the first movement. One can conclude that Beethoven's unique expressiveness and passion are reflected in every note of the Eroica's first

Sonata form is one of the more popular forms of music that is found in a variety of different works including symphonies, concertos, and sonatas. Sonata form features three distinct sections: the exposition, development, and recapitulation. Mozart was one of the early composers of this form of music. I will examine the clear distinctions between each section and how he does not stray from the typical form. In later years the form would change to become more fluent and focused on the growth and expansion of the piece. This progression of change was led by the works of Beethoven and the changes can be clearly seen in his grandiose works. By comparing the first movement of Symphony

Beethoven’s symphony No. 5 in c minor, Op. 67, I has four movements allegro con brio, andante con moto, scherzo allegro, and allegro. The first movement is a sonata that contains a motif and fortissimo phases using imitation and sequence with a constant flowing melody. The second movement contains two themes in alternation. The first theme starts later followed by the second which later dies of as a third theme is born followed by fortissimo The third movement contains a scherzo and trio and is in ternary form the theme is immediately stated and continually gets revived. The fourth and final movement starts immediately after the third and is a variation of a sonata. The piece has strong cadence and recapitulates only to finish in an extremely

First movement starts with slow introduction in violin part, followed with the same theme in piano part. For this period of time it was more usual that piano was opening the movement/s with the thematic material, so this Beethoven’s change makes the piece even more unique. Introduction is followed by the energetic and almost furious Presto section, which takes the central part of the first movement. Presto section is bringing more emotional

This is the volume I of the Series II. It includes sixteen sonatas. Only one of them is unaccmpaniment flute sonata, other fifteen pieces are wind and string instruments and basso continuo. Excepts the manuscripts and the scores, this volume also contains three useful sections which are an introduction, Abbreviations, and the critical report. The critical report is located on the page one hundred and twenty-seven to page one hundred and forty-six.

The first movement of this piece is based on the typical sonata form, beginning with an exciting