Sunday, October 7, 2007

Beethoven Op. 130 movt. 1

So, I looked over the piece for a couple of hours and listened to it a few times and this is what I came up with.

It is is Sonata form, although not so clear.

I believe that mm. 1- 24 is an introduction, in Bb major. The exposition and Theme 1 then starts in the key of F major, this lasts from 24 to 53. Although it modulates back to Bb around mm. 31. From 53-70 there is a transition to Theme 2 and is modulating to Gb major. Theme 2 begins in mm. 71 with the key change to Gb and lasts until the repeat.

The development begins in 94 and modulates into the key change to D major. The development is fairly short, going through another key change to G major (and possibly modulating briefly to C major), before recaping at 132.

I then believe the recapitulation starts in 132 with Theme 1' back in the key of Bb major and modulating to Eb major around 139. Theme 1' then goes until 160, where the transition into Theme 2' starts. It also modulates to Ab major in 150 leading the way to the key change. This transition is longer than the one in the Exposition, but it reaches Theme 2' in mm. 189. The key makes it's way back to Bb with another key change at 173.

The movement then ends with a Coda starting in mm. 214 in Bb major.

I also did analysis of the key centers and I got something like this:

Bb [ F Bb Gb] D G (C) [ Bb Eb Ab Bb] Bb
V I N/V V/G vi (V/C) (ii) V I IV V I
( Eb temporary tonic)
Intro Exposition Development Recapitulation CODA

I was curious of the Gb, since it isn't a related key, but I thought it was interesting that N can subsitute for IV's. Eb also is the IV of Bb....I'm not sure what it all means in relation to the big picture, but its a start...

This maybe right or wrong, but it was the closest I could come to making sense of it in Sonata form.

9 comments:

SamanthaW said...

Sorry about the key center stuff, it didn't keep the spacing, I had it all lined up...grr

Randy Griggs said...

I agree that this is sonata form. I do see Theme 1 in F Major starting in m. 24 there is a transition at m. 53 that moves us into Theme 2 at m. 71 in Gb.

After looking over the development I may have my measures counted wrong but I see the development occurring in m. 94 or 95 and it is in D major.

Recap in m. 132 has a little play on Theme 1 as Sam puts it Bb and going to Eb. measures 139-160 is a longer transition than the one in the exposition to Theme 2 in m. 189.

Coda m.214 to the end. I could possibly see that from Beethoven although it is very long, it gives a chance to play with both themes.

Daniel White said...
This comment has been removed by the author.
Daniel White said...

After thorougly reviewing my score whilst listening to the Emerson String Quartet play it, I definitely could not find any flaws with your analysis. I whole-heartedly agree with the measure numbers and the key areas. Beethoven created another darn masterpiece, and I wonder what kind of tricks were up his sleeves for this one waiting to be discovered?

Shelley Scarr said...

Good analysis. I agree with your key centers. After analyzing mm. 94-132, I couldn't really see a definite C Major key center after the key change to G Major. There are several C notes present in that section, but nothing that really points to a CM center.

The only thing I thought differently about was that, in my opinion, the exposition begins in pick-ups to mm. 16 instead of mm. 24. The theme that begins here in the 2nd violin part carries throughout the exposition in other voices. It also seems like the beginning of the exposition because of the tempo change to Allegro. I know it returns to Tempo I in mm. 21, but the theme returns in Allegro again at pick-ups to 26. It seems that the two parts would go together under one section. I could be wrong, but that was really the only thing that stood out to me.

Brenden said...

Samantha,

I think you did a great job on your analysis as well. Very thorough. Just a couple of things i noticed to maybe add onto yours...I am not completely convinced that the intro goes all the way until m. 24, just because the Allegro in the "introduction" has the same thematic material as the beginning of the exposition. Also, I think that it modulates it modulates to F Major earlier then m. 24...maybe m. 22 (beat 4). I think that it stays in F Major all the way until m. 37 at the latest. Even though there are B-flats in the cello part in m. 31 i believe its only the IV chord...there is a PAC in m. 33 and 34 that show it is still in F Major.

In the development...just like with Shelley's comment...i dont see where there is a C Major center...especially since the note in the cello is a C# (i.e. 1 measure after the beginning of the Allegro in the development.)

Other than that minor stuff...i agree with the rest of your analysis.

Ryan Atkinson said...

I think that your analysis of this piece is also pretty spot on, however, I have a couple ideas. They are out of the ordinary, but then again, so was Mr. B. Would it be possible that the intro is actually split into two parts, with an intrusion/introduction/foreshadowing of theme one stuck in the middle? I.E. I was thinking mm. 1-14 Intro / mm. 15-19 Theme I / mm. 20-24 / Intro continued / mm. 24/25-53 Theme I continued. What do you think? That thought is based solely on the tempo and rhythms

sarah s said...

I think your analysis was great. Really detailed and yeah...good job. Definitely agree with you that it is sonata form. However, I'm not sure that I agree that the introduction is that long. I originally had that the intro was from mm. 1-7, but the more I look the more I'm seeing that there could be fairly strong arguements for any number of theme locations and transitions and everything else.
I totally agree with your key areas and I can definitely see that the very obvious G minor section in mm. 125-131 switching into the relative Bb major is a great place to start the recapitulation...except for the fact that it makes for a very short development. And it very well may be just that.
Honestly, the things that stuck out to me the most were the connections within the piece itself. Such as mm. 1, 21, and 216 as well as mm. 64-70 and mm. 185-191. And of course the over-arching "quarter, quarter, eighth, eighth, dotted half" motive that is throughout the entire movement. There's just so much to think about in this piece it's hard to focus on just one aspect.

misterpianoman said...

great analysis! I agree with evrything you wrote... I came up with all the same messure number start and finishes. And as far as the Gb, the only realation i can think of is that Gb is a chord from the key on Ebminor. so maybe a little tie from Eb to Ebminor is there?.... See you in class!