The Beethoven Piano Sonata Op.27 No.1 (1800-1801) shows the transitional qualities between early period sonata and middle period sonata. The piece was composed when Beethoven tried to constructe his own form. In this piece, Beethoven destructs typical sonata form of that time period, as well as show...
The Beethoven Piano Sonata Op.27 No.1 (1800-1801) shows the transitional qualities between early period sonata and middle period sonata. The piece was composed when Beethoven tried to constructe his own form. In this piece, Beethoven destructs typical sonata form of that time period, as well as shows cyclic structures representative of the romantic time period. Therefore, this piece can be considered as a bridge to romantic period as well as a stepping stone for Beethoven's personal development in music. Based on the analysis of the Beethoven Piano Sonata Op.27 No.1, this study categorizes characteristics of this piece into three components: (1) formal deviance, (2) overall movements' organic unity, and (3) diverse and frequent transitions. First characteristic of this piece is formal deviance. It has distinctive colors while still being part of the early imitation period, and yet, it does not distinctively follow the Sonata form. In fact, it contains the forms of compound ternary, song, scherzo, and rondo-sonata. Furthermore, the piece employs attacca subito at the end of each movement to blur the beginnings and ends of its movements. Typical piano sonatas in times of Beethoven starts with the first movement having a sonata form with a fast tempo, then proceeds with the second movement in solw tempo, for example Andante or Adagio (sometimes shown in other forms such as minuet and variations in themes), and once again returning to a fast-tempoed sonta-rondo form in the third movement. Considering this sonata form, Beethoven Piano sonata Op.27 No.1 would have been an incredible escape from forms. The second characteristic relates to the piece’s uniform and organic nature. It might be difficult to imagine such characteristics in view of its name “Quasi una fantasia,” but such organic unity is present throughout all movements filled with 3rddown motives and certain rhythm patterns that are amplified with the motif method. Unlike the prior era when motifs changed in units of two bars, the third movement employed diverse methods of changing the rhythm with three bars. The third characteristic relates to the diverse and frequent modulation. Op.27 No.1 connects all movements with attcca and modulates through the Ⅴin relative minor . This technique is used when transitioning from the second movement to the start of the third movement, and from the start of the third movement to its rondo-sonata phase. The last Coda of the second movement is often confused with Picardie 3rd,butitisanalyzedtobefmincludingB♭ note. This is the A♭’s relative minor of Adagio con espressione, which serves as the starting section of the third movement. And the second movement ends with V of fm. Likewise, Coda of the third movement’s starting section ends with the 7thharmonyofcm,whichservesasE♭’s relative minor forming allegro vivace of the rondo-sonta. Further, the third movement frequently employs varying flow methods, such as “sequential modulation,” “flow using the 7thharmony,”“flowwithsequentialuseofdiminished7thchordandsecondarydominantchords.”Thelasttwodominatethethirdmovement. Beethoven’s Piano Sonata Op.27 No. 1 is a sonata that is also known as “Quasi una fantasia,” and is often the subject of scholarly debate with respect to its movement and era categorizations. It brings out the colors of relative minor and uses attaca sections, all adding to the mysterious attractions that invite the listeners to various interpretations. Such attraction is probably the reason why so many pianists enjoy playing this piece.
The Beethoven Piano Sonata Op.27 No.1 (1800-1801) shows the transitional qualities between early period sonata and middle period sonata. The piece was composed when Beethoven tried to constructe his own form. In this piece, Beethoven destructs typical sonata form of that time period, as well as shows cyclic structures representative of the romantic time period. Therefore, this piece can be considered as a bridge to romantic period as well as a stepping stone for Beethoven's personal development in music. Based on the analysis of the Beethoven Piano Sonata Op.27 No.1, this study categorizes characteristics of this piece into three components: (1) formal deviance, (2) overall movements' organic unity, and (3) diverse and frequent transitions. First characteristic of this piece is formal deviance. It has distinctive colors while still being part of the early imitation period, and yet, it does not distinctively follow the Sonata form. In fact, it contains the forms of compound ternary, song, scherzo, and rondo-sonata. Furthermore, the piece employs attacca subito at the end of each movement to blur the beginnings and ends of its movements. Typical piano sonatas in times of Beethoven starts with the first movement having a sonata form with a fast tempo, then proceeds with the second movement in solw tempo, for example Andante or Adagio (sometimes shown in other forms such as minuet and variations in themes), and once again returning to a fast-tempoed sonta-rondo form in the third movement. Considering this sonata form, Beethoven Piano sonata Op.27 No.1 would have been an incredible escape from forms. The second characteristic relates to the piece’s uniform and organic nature. It might be difficult to imagine such characteristics in view of its name “Quasi una fantasia,” but such organic unity is present throughout all movements filled with 3rddown motives and certain rhythm patterns that are amplified with the motif method. Unlike the prior era when motifs changed in units of two bars, the third movement employed diverse methods of changing the rhythm with three bars. The third characteristic relates to the diverse and frequent modulation. Op.27 No.1 connects all movements with attcca and modulates through the Ⅴin relative minor . This technique is used when transitioning from the second movement to the start of the third movement, and from the start of the third movement to its rondo-sonata phase. The last Coda of the second movement is often confused with Picardie 3rd,butitisanalyzedtobefmincludingB♭ note. This is the A♭’s relative minor of Adagio con espressione, which serves as the starting section of the third movement. And the second movement ends with V of fm. Likewise, Coda of the third movement’s starting section ends with the 7thharmonyofcm,whichservesasE♭’s relative minor forming allegro vivace of the rondo-sonta. Further, the third movement frequently employs varying flow methods, such as “sequential modulation,” “flow using the 7thharmony,”“flowwithsequentialuseofdiminished7thchordandsecondarydominantchords.”Thelasttwodominatethethirdmovement. Beethoven’s Piano Sonata Op.27 No. 1 is a sonata that is also known as “Quasi una fantasia,” and is often the subject of scholarly debate with respect to its movement and era categorizations. It brings out the colors of relative minor and uses attaca sections, all adding to the mysterious attractions that invite the listeners to various interpretations. Such attraction is probably the reason why so many pianists enjoy playing this piece.
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