University of Iowa

Iowa Research Online

2013

Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition
JeeHyung Moon
University of Iowa

Copyright 2013 JeeHyung Moon This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/4881 Recommended Citation
Moon, JeeHyung. "Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition." PhD diss., University of Iowa, 2013. http://ir.uiowa.edu/etd/4881.

Follow this and additional works at: http://ir.uiowa.edu/etd Part of the Music Commons

LUDWIG VAN BEETHOVENS SONATA FOR CELLO AND PIANO IN F MAJOR OP. 5, NO. 1: AN ANALYSIS AND A PERFORMANCE EDITION

by JeeHyung Moon

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa

August 2013

Essay Supervisor: Associate Professor Anthony Arnone

Copyright by JEEHYUNG MOON 2013 All Rights Reserved

Graduate College The University of Iowa Iowa City, Iowa

CERTIFICATE OF APPROVAL

D.M.A. ESSAY

This is to certify that the D.M.A. essay of JeeHyung Moon has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the August 2013 graduation. Essay Committee:

Anthony Arnone, Essay Supervisor

William LaRue Jones

Volkan Orhon

Katherine Wolfe

Jennifer Iverson

To My Parent

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The true artist has no pride. He sees unfortunately that art has no limits. He has a vague awareness of how far he is from reaching his goal; and while others may perhaps admire him, he laments that he has not yet reached the point to which his better genius only lights the way for him like a distant sun. Ludwig van Beethoven. July 17, 1812. From the letter to Emilie M.

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ACKNOWLEDGEMENTS This essay has been fulfilled thanks to the great help by many people. First of all, my essay supervisor, Professor Anthony Arnone enormously inspired me with the topic and details of every chapter. Beethovens cello sonata in F major op. 5, No. 1 is the first piece I studied with him in the University of Iowa. Five years ago, Professor Arnone helped introduced me to this piece and provided great insight. This piece was also on the program of my first D.M.A. recital in 2010. My dissertation essay will provide me many memories of the University of Iowa, Professor Arnone, and colleagues. Among the many professors who taught and inspired me, Professor Jennifer Iverson notably helped with the analysis chapter. She suggested proper musical terms, theory texts, and shepherded my analysis. Above all, without many great lectures and lessons from professors of the University of Iowa, I could not have finished this essay. I specially thank my essay committees. They have all given me important knowledge that has made this essay come to fruition.

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TABLE OF CONTENTS LIST OF TABLES LIST OF FIGURES CHAPTER I.

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INTRODUCTION THE HISTORIC BACKGROUND OF BEETHOVENS CELLO SONATA IN F MAJOR OP. 5, NO. 1 Biography The Cello Sonata in F Major Op. 5, No.1

1 4 4 17 21 21 21 26 32 43 49 58 58 73 73 90 90 98 107 112 114 120

III.

THE ANALYSIS OF BEETHOVENS CELLO SONATA IN F MAJOR OP. 5, NO.1 The Analysis of the First Movement Adagio sostenuto Allegro Exposition Development Recapitulation The Analysis of the Second Movement Rondo Allegro vivace

IV.

THE PERFORMANCE EDITION OF BEETHOVENS CELLO SONATA IN F MAJOR OP. 5, No. 1 The Performance Edition Score The Performance Guide for the Edition Editorial Commentary The First Movement The Second Movement

V.

CONCLUSION

APPENDIX. AUTOGRAPH SKETCHES AND TRANSCRIPTION BIBLIOGRAPHY

LIST OF TABLES Table 1. Theoretical Terms and Abbreviations of Sonata Form Table 2. Tonal Hierarchy Table 3. Formal Structure of the Exposition of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Table 4. Formal Structure of the Development of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Table 5. Key Structure of the Development of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No.1 Table 6. Formal Structure of the Recapitulation of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Table 7. Key Structure of the Recapitulation of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Table 8. Structure of the Sonata-Rondo Form Table 9. Formal Structure of the Allegro vivace of Beethovens Cello Sonata in F major, Op. 5, No. 1 Table 10. Key Structure of the Allegro vivace of Beethovens Cello Sonata in F major, Op. 5, No. 1 28 32 33 45 45 50 51 58 59 60

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LIST OF FIGURES Figure 1. Key Structure of the Introduction (Adagio sostenuto) Figure 2. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 1-4 Figure 3. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 5-10 Figure 4. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 11-16 Figure 5. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 17-22 Figure 6. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 29-31. (short cadenza passage) Figure 7. Structure of the Sonata Form Figure 8. Key Structure of the Exposition of Beethovens Sonata for Cello and Piano Op. 5, No. 1 Figure 9. Sentence Structure Figure 10. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 35-57. Main Theme (Sentence): basic idea (mm. 35-38) + basic idea (mm. 39-42) + continuation (mm. 43-46) + cadential (mm. 4749: PAC) Figure 11. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 70-80. Secondary theme (three phrase period): antecedent (mm. 73-76) + 1st consequent (mm. 77-80) + 2nd consequent (mm. 81-84) Figure 12. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 81-92. Repetition of secondary theme: mm. 85-107 Figure 13. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 93-104 Figure 14. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 108-123 Figure 15. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 143-152 EEC: m. 143 (PAC of C major) vii 22 23 23 24 25 25 31 33 34

35

37 39 40 41 42

Figure 16. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 153-160 Figure 17. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 161-169 Figure 18. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 171-179 Figure 19. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 195-204 Figure 20. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 217-220 Figure 21. Main Theme in the Recapitulation (mm. 221-232) Figure 22. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 221-232 Figure 23. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 253-267 Figure 24. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 286-295 Figure 25. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 337-342 Figure 26. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 362-367 Figure 27. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 368-371 Figure 28. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 380-391 Figure 29. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 1-24 Figure 30. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 25-35 Figure 31. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, viii

43 46 47 48 49 52 52 54 55 56 56 57 57 61 62

mm. 60-63 Figure 32. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 64-76 Figure 33. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 83-94 Figure 34. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 117-131 Figure 35. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 138-146 Figure 36. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 169-181 Figure 37. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 202-211 Figure 38. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 219-229 Figure 39. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 234-243 Figure 40. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 271-290

63 63 65 66 67 68 69 70 71 72

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1 CHAPTER I INTRODUCTION The cello sonata tradition began in Italy during the 17th Century. The instrument was called bass viol and the first sonata for the instrument tuned C-G-D-A was titled Sonata per violin e violone from concerti ecclesiastici written by Giovanni Paolo Cima (1570-1630) (Milan, 1610). 1 Since then many more cello sonatas were composed in Italy during the 17th Century and most were composed for the cello and basso continuo. 2 In 18th Century, J. S. Bach (1685-1750) composed three sonatas before 1741 for the harpsichord and the viola da gamba, BWV 1027-9 and the Italian cellist-composer Luigi Boccherini (1743-1805) wrote 34 sonatas for cello and basso continuo. In France, Martin Berteau (1708-71) and JB. S. Brval (1753-1823) composed sets of cello sonatas with continuo. However, the cello and piano sonata tradition was not an established genre until Beethoven wrote his first sonata for cello and piano. Ludwig van Beethoven (1770-1827) wrote his first cello sonata in 1796 while he was travelling in Germany. This sonata is paired with his cello sonata in G minor Op. 5, No. 2. In the court of Friedrich Wilhelm II, the King of Prussia, to whom these sonatas were dedicated, the two sonatas were premiered together with the Kings first cellist Jean-

Berry Kernfeld and Anthony Barnett. Violoncello in Grove Music Online, http://www.oxfordmusiconline.com, accessed June 25, 2013. Basso continuo was played in various ensembles by players of chordal instruments throughout Europe for roughly two centuries after about 1600. The instruments used included keyboard (organ, harpsichord), plucked string (lute, guitar, harp) and bowed string (bass viol, violoncello). A basso continuo is an instrumental bass line, over which the player improvises or realizes a chordal accompaniment. Since the part is not fully written out, as an obbligato part would be, the function of the basso continuo is to accompany.
2

2 Louis Duport (1749-1819). For this same occasion, he composed two sets of 12 Variations for cello and piano: WoO45, on the theme see, the conquring hero comes from Handels Judas Maccabeus, dedicated to Christiane von Lichnowsky and Op. 66, on Mozarts Ein Mdchen oder Weibchen from Die Zauberflt, dedicated to Count von Brown. 3 These sonatas and variations are historically significant as these works are the first to emphasize the cello much as the piano. The piano part in these pieces is also technically demanding compared to other cello and piano pieces from the Classical period. Because of these features, Beethovens Op. 5 cello sonatas are historically important to study of Beethovens first Viennese period. His next three cello sonatas (op. 69 and Op. 102) are more evolved from the first two cello sonatas. These last three cello sonatas have Romantic features. Op. 69 (1808-09) and two Op. 102 (1815) sonatas (No. 1 and No. 2) were composed during Beethovens middle and last periods. They are extensive in forms and have artistic freedom as well as grand fugal passages. His first two cello sonatas have cleaner style, bright colors, clarity and simplicity. They have charming melodies, regular rhythm and clean harmony. Beethovens cello sonatas prompted other composers to write many cello sonatas and created much development in the cello music history. Beethovens earlier works, Op. 5, No. 1, exhibits many specific elements typical of the composers writing of his first Viennese period. During this period, Beethoven was heavily influenced by Haydn and Mozart, and also tried to find his own compositional voice. The organization of this sonata explains Beethovens endeavor of his new voice. An elegant and extended Adagio sostenuto introduction and the omission of a slow Angus Watson. Beethovens Chamber Music in Context [Woodbridge: Boydell, 2010], 32.
3

3 movement shows his flexible treatment of the tradition. Dramatic dynamic, syncopation rhythms and the use of chromaticism clearly demonstrates Beethovens own compositional voice. The purpose of this study is to provide a detailed edition of Beethovens cello sonata Op. 5, No. 1 in F major. I will refer to musical scores by Henle Verlag edited by Andr Navarra (1971) and the first edition by Artaria (1797). For sufficient details of the performance edition, I will refer to many cello pedagogy books such as Jean-Louis Duports Essay on Fingering the Violoncello, and on the Conduct of the Bow. Along with this performance edition, I will offer an analysis of the harmony, texture and form. For this, the book Classical Form by William Caplin, and Element of Sonata Theory by James Arnold Hepokoski and Warren Darcy are primarily used as references. I am hoping this new edition will provide assistance to both cello students and professionals for future performances and study.

4 CHAPTER II THE HISTORIC BACKGROUND OF BEETHOVENS CELLO SONATA IN F MAJOR OP. 5, NO. 1 Biography The biographical information of Beethoven in this chapter is mainly gleaned from the book Beethoven by Maynard Solomon and the book Beethoven: The Music and the Life by Lewis Lockwood. I also referred to many other biographies of Beethoven which can be found in the bibliography at the end of this essay. Ludwig van Beethoven (1770-1827) was born on 16 December, 1770 into a family of court musicians at the electorate of Cologne that was situated in Bonn. His grandfather, Ludwig van Beethoven (1712-1773), was a bass and Kapellmeister at the court and his father Johann van Beethoven (1740-1792) was a court tenor. Johann van Beethoven married Maria Magdalena (1746-1787) on November 12, 1767. Their first child, Ludwig Maria was baptized on April 2, 1769 and lived for just six days. Their second son, Ludwig, was baptized on December 17, 1770. They had five more children including Caspar Anton Carl and Nikolaus Johann who are the only siblings of Beethoven to survive beyond infancy. Beethoven admired his grandfather deeply and he desired to be a Kapellmeister like his grandfather. The musical background of the family gave Beethoven an early musical education that was started by his father when he was four or five years old. Johann van Beethoven presented the seven-year-old Ludwig in a concert in Cologne on March 26, 1778, which also featured his pupil, the soprano Helene Averdonck. After this concert, Johann thought that Ludwig was not ready to perform in public and decided to

5 send Ludwig to other professional musicians for better education as Johann found his own knowledge was insufficient for Ludwig. The court organist Gilles van den Eeden (1710-1782) briefly gave him lessons in composition and organ technique in the late 1770s. Beethoven also took organ lessons from Friar Willibald Koch and from Zensen, the organist of Bonns Mnsterkirche. In addition to keyboard lessons, Beethoven also had lessons on violin with his relative Franz Rovantini, and later, from Franz Ries, Bonns leading violinist as well as lessons on horn with Nikolaus Simrock. As Beethoven became a teenager, his musical abilities were recognized and he began to establish a career. Although without receiving a salary, he became assistant court organist at the electoral court in 1782 at the age of eleven and cembalist in the orchestra in 1783. In June 1784, he received an official appointment as deputy court organist, at a salary of 150 florins. Beethovens success came with the help of his first important teacher, Christian Gottlob Neefe (1748-1798), a German composer, organist, and conductor arrived in Bonn in October 1779. Neefe was named successor to van den Eeden as court organist on February 15, 1781. He became Beethovens teacher in 1780 or 1781 and remained his only important teacher until Beethoven left Bonn in November 1792. Neefe recognized and encouraged Beethovens genius and helped produce his earliest professional successes. Moreover, Neefe arranged for publication of Beethovens early works and wrote a public notice about him in a communication to C. F. Cramers Magazin der Musik, on March 2, 1783: Louis van Beethoven, a boy of eleven years and of most promising talent. He plays the clavier very skillfully and with power, reads at sight very well, and to put it in a nutshell he plays chiefly The Well Tempered Clavichord of Sebastian Bach, which Herr Neefe put into his hands. Whoever knows this collection of preludes and fugues in all the keys which might almost be called the non plus ultra of our art will know what this means. So far as his duties

6 permitted, Herr Neefe has also given him instruction in through bass. He is now training him in composition and for his encouragement has had nine variations for the pianoforte, written by him on a march by Ernest Christoph Dressler engraved at Mannheim. This youthful genius is deserving of help to enable him to travel. He would surely become a second Wolfgang Amadeus Mozart were he to continue as he has begun. Neefes teaching and encouragement helped Beethoven to develop rapidly in the early 1780s. Beethovens first known compositions were produced under Neefes supervision. In the first few years of this period, he composed the set of Nine Variations in C minor on a March by Dressler, WoO 63 (1782); Three Clavier Sonatas (Electoral), WoO 47 (1782-83), dedicated to Elector Maximilian Friedrich; a Piano Concerto in E-flat, WoO 4 (1784); Three Quartets for Piano and Strings, WoO 36 (1785); as well as several lieders and small keyboard works. These pieces were quickly published and Beethoven drew the publics attention especially because of his young age. In the years of 1785-1790, however, Beethoven did not write any new works because he was reevaluating his compositional output and in late 1789 or early 1790, he began to write more serious music at a much higher level. Beethoven was thoroughly occupied with multiple activities as court musician in the second half of 1780s, and from 1788, he also played in the court and theater orchestras as a violist. Beethoven also became a regional keyboard virtuoso as early as 1781. In Bonn, Beethoven gave private concerts in his familys house as well as at the home of friends and fellow musicians. As a young virtuoso, he also performed occasionally at the electoral court and salons of the high nobilities. Beethoven often received financial support from the court in his later Bonn years and his earnings could support his family. In the spring of 1787, Beethoven visited Vienna, supported by the

7 elector to promote a gifted Bonn pianist in Vienna, and perhaps to play for Mozart. But he had to return to Bonn in two weeks because his mother fell ill. His mother died on July 17, 1787 and his younger sister died in November of that same year. Beethoven was now in charge of his family as the eldest son and these losses may have prolonged his silent years of his output as a composer. After the silent period of the second half of 1780s, Beethoven found more time to compose in addition to the activities as a court musician. His concentration on keyboard performance and improvisation during this silent period provided him a huge energy for his compositions in later years. A sudden burst of activity began around late 1789 or early 1790 and continues through his departure for Vienna in November 1792. Among the works of this period were four or five sets of piano variations (WoO 64, WoO 65, WoO 66, WoO 67, and perhaps WoO 40); two full-scale cantatas (WoO 87 and WoO 88); incidental music for a ballet (WoO 1); a piano trio (WoO 38); a number of works for piano solo and various combinations of wind instruments, other chamber music, several concert arias, as well as a number of songs. The ideas of the Enlightenment became the official principles of the electorate city of Bonn during the mid-1780s. The book seller in the 1770s and 1780s in Bonn sold the latest editions of works by Rousseau and Montesquieu alongside the writings of Schiller and Goethe. Within this atmosphere, Beethovens social and cultural attitudes took shape and he accepted the main notions of the Enlightenment: virtue, reason, freedom, progress, and universal brotherhood. Throughout his life, he was to be guided by the principles of political liberty, personal excellence, and ethical action that were inspired by the ideas of the Enlightenment.

8 In 1790, Franz Joseph Haydn visited England. In December, he departed for London and on the way there, he stopped at Bonn, arriving during Christmas. He was welcomed by the elector and leading musicians of Bonn, perhaps including Beethoven. Haydn stopped in Bonn once more on his way back to Vienna, in the late spring of 1792. At this time, Beethoven showed him one of his cantatas (WoO 87 or WoO 88) with which Haydn was impressed. Upon the electors request, Haydn accepted Beethoven as a student. In the beginning of November, 1792, Beethoven set out for Vienna. On December 18, 1792, seven weeks after Beethovens departure, his father died. Beethoven didnt write about his fathers death and he never returned to Bonn for the rest of his life. With the invitation to study with Haydn, Beethoven arrived in Vienna during the second week of November 1792. Beethoven was regarded primarily as a virtuosic pianist at the beginning of his career in Vienna. His powerful, brilliant, and imaginative style was new and fresh at that time. In addition, he was a great improviser on the piano. He impressed his audience and became a famous musician. Beethoven began studying composition with Haydn in November 1792, which was the central purpose of being in Vienna. He was Haydns pupil for fourteen months, until January 1794, when Haydn departed for his second journey to London. Beethoven learned the entire scope of ideas and techniques of the Classical style from Haydn. During his lessons with Haydn, Beethoven revised his Bonn compositions. When Haydn left for London again in 1794, he arranged for the continuation of Beethovens studies in counterpoint with the composer and teacher Johann Georg Albrechtsberger (1736-1809). The lessons began soon after Haydns departure and continued until the spring of 1795. Antonio Salieri (1750-1825) was also Beethovens teacher in dramatic and vocal

9 composition for a number of years in Vienna, starting perhaps as early as 1798. After Haydn returned to Vienna, Beethoven was featured as an instrumentalist at a Haydn concert in the small concert hall of the imperial palace on December 18, 1795. Beethoven dedicated his three op. 2 piano sonatas to Haydn. Although Haydn was Beethovens major musical influence, Beethoven already began writing many wholly individual characteristics in his compositions during this period. He now began to move forward from his predecessors and contemporaries to a new style of future works. His two younger brothers, Caspar Carl and Nikolaus Johann arrived in Vienna in 1794 (Caspar Carl) and 1795 (Nikolaus Johann). Caspar Carl obtained a minor position as a bank cashier in the state bureaucracy, which he held until his death in 1815. He occasionally served his older brother as unpaid secretary and business agent. Nikolaus Johann was employed as a pharmacists assistant in Vienna until 1808 and eventually began a shop of his own in Linz. After his brothers were settled in Vienna, Beethoven started a concert tour. From February to July 1796, he undertook a tour to Prague, Dresden, Leipzig, and Berlin. In Berlin, he performed at the Prussian court for King Friedrich Wilhelm II. He performed his two sonatas for cello and piano in F major and G minor, Op. 5, with the famous cellist, Jean-Louis Duport, for the king. Beethovens first major Viennese compositions appeared in 1795. His primary models were the creators and masters of the Viennese Classical style, Mozart and Haydn. Beethoven was also influenced by Glck for his dramatic expression. Muzio Clementi and Luigi Cherubini were also major influences on Beethoven during this time period. The genres Beethoven wrote during his first Vienna period, which lasted until about 1802, were the piano sonata, the duo sonata, the piano trio, the string trio, the string quartet,

10 chamber music for winds, the concerto, and the symphony. He also composed many occasional pieces, many lieders, several arias, and numerous sets of variations. Beethovens first works to have an opus number were the three Trios for piano, violin and cello Op. 1, published in 1795. Eight of his ten violin sonatas were written during this period. The set of three sonatas, Op. 12, 1797-1798; the sonatas in Op. 23 and Op. 24 (spring), 1800-1801; and three sonatas Op. 30, 1801-1802, which were dedicated to Czar Alexander. Beethovens chamber music for strings from this period includes three string trios, Op. 9, 1798, six string quartets, Op. 18, 1801, and two string quintets Op. 4, 1795, and Op. 29, 1801. Beethoven also completed three concertos for piano and orchestra during this period. The concerto No. 1, Op. 15, and the concerto No. 2, Op. 19, were published in 1801 and the concerto No. 3, Op, 37 was written from as early as 1799 to 1802-1803. His first symphony Op. 21 was written in 1800 and symphony No. 2, op. 36, was completed in 1802. The first twenty of his thirty three piano sonatas were composed in the eight years leading up to 1802. Among these sonatas, the sonata in C minor Pathetique, Op. 13, was the first to use a slow, dramatic introduction. The sonata in E-flat and C-sharp minor, Op. 27, No. 1 and 2 (the latter dubbed Moonlight), opened a path to the fantasy sonatas as Beethoven gave the title Sonata quasi una Fantasia to each of the two sonatas. In the early Viennese period, Beethoven learned the tradition of Viennese style. After this period, he begins to move in the direction of Romanticism by loosening and extending the Classical design. Beethovens hearing loss approximately began in 1796. He had several years of inner conflicts and anxiety in the late 1790s to early 1800s. This was during his years of

11 high productivity and creative accomplishments. The works of the late 1790s to early 1800s exhibit Beethovens mastery of the Classical style as well as clear signs that he was in transitioning toward a radically new style. The first symptoms of deafness brought panic to Beethoven. He sought out doctors who could relieve his pain and panic and Beethoven turned to Johann Adam Schmidt shortly after mid-1801. Dr. Schmidt recommended seclusion in the countryside as a relief from his busy, ordinary life. Approximately in late April of 1802, Beethoven went to the quiet village of Heiligenstadt, just north of Vienna, on the Danube, and remained there for about six months, an unusually extended vacation for him. He wrote the Heiligenstadt Testament to his two brothers on October 6th, 1802. In this testament, Beethoven wrote about his fear of deafness, being left alone from the society, and a symbolical farewell to his brothers. But he appreciated his art and looked back at his life. This testament is very important in Beethovens life because it shows a turning point that closed his first artistic period and opened up the new heroic middle period. The progress of Beethovens deafness made it difficult to contact with the rest of the world and fueled a feeling of painful isolation. But deafness did not hurt his art and indeed, may have even heightened his abilities as a composer. He was freer to experiment new forms and was not influenced by the external environment. Beethoven fought against the deafness and was able to overcome his disability. Despite his hearing difficulty, he completed his heroic style. There is a note on a leaf of sketches for the Razumovsky quartet in 1806: Let your deafness no longer be a secret even in art. His psychological crisis of the Heiligenstadt Testament was followed by a period of reconstruction. During his middle period (1803-1812), he produced an opera, an oratorio, a Mass,

12 six symphonies, four concertos, five string quartets, three piano trios, a cello sonata, two violin sonatas and six piano sonatas, as well as incidental music, many lieders, four sets of piano variations, and several symphonic concert overtures. As early as 1804, publications of Beethovens music were widely circulated and within a few years his works were in such high demand that they appeared on concert programs more frequently than those of Mozart and Haydn. Abroad, his music became rapidly famous as well. Especially in England, Beethoven gained his greatest popularity outside Austria. Beethoven wrote the variations on God Save the King, WoO 78 and on Rule Britannia, WoO 79 in 1803. New publications of Beethovens music continued to be issued at a very rapid rate. Between the years 1803 and 1812, an average of almost eight new publications of his works appeared annually, from publishers in Vienna, Bonn, Leipzig, and Zrich. In England, the composer-publisher Muzio Clementi issued thirteen works by Beethoven in London in 1813. In 1804, he settled on the libretto about the rescue of an imprisoned husband by his loving wife from J. N. Bouillys French libretto Leonore; ou, lamour conjugal. He chose a libretto that had originated in post-Revolutionary France, and began to compose an opera in the rescue opera genre, that was widely popular and originated in Paris. At this time, he hoped to move to Paris because he had not yet been hired by a theater or court, but Beethoven withdrew this idea and abandoned any plans for a concert tours to Paris. Beethoven decided to remain in Vienna after hearing the news in May 1804, that Napoleon had proclaimed himself emperor of France. When Beethoven wrote his third

13 symphony, he had Bonaparte in mind. The symphony was retitled Eroica but it was first titled Bonaparte. Napoleon was very much admired by important European intellectuals and artists who were the leaders of the Enlightenment. It was during this time that Beethovens music embodied the heroic style. It was a period of ideology and revolution. The French Revolutionary music influenced Beethoven to create a revolutionary, heroic music. The flexible structure of sonata form expanded to embrace the grand style elements of French music. His heroic style was a combination of these styles. In addition, Beethoven completed his first opera Leonore in June 1805 and it was premiered on November 20 in that year. Beethoven revised the opera and it was performed on March 29 and on April 10, 1806. It was finally completed in 1807 to the publics satisfaction. The year 1807 and 1808 are an immensely prolific time for Beethoven. In October 1808, King Jerome Bonaparte invited Beethoven to come to Kassel in Westphalia as his Kapellmeister. Beethoven used this offer to raise his annual salary which he was receiving from the nobilities of Vienna. The annuity agreement was dated March 1, 1809. Beethoven had attained the highest degree of independence and security from this income. In 1809, Napoleons armies sieged Vienna at the beginning of May. Many public officials and nobilities left the capital and Beethoven took refuge in the house where his brother Caspar Carl and his wife, Johanna lived. The death of his physician, Johann Schmidt, on February 19 and of Haydn on May 31 in that year made Beethoven more depressed. On October 14, Austria concluded a peace treaty with France and Vienna gradually returned to relative normalcy. Despite his somber mood that lasted several months, Beethoven was able to

14 compose a cluster of major works during the invasion of this year such as the Piano Concerto in E-flat Emperor, Op. 73, the String Quartet in E-flat Harp, Op. 74 and three Piano Sonatas Op. 78, 79, and 81a. In 1810, Beethovens productivity was slowing down, from which his main completed works were the incidental music to Goethes Egmont, Op. 84, and the String Quartet in F minor, Op. 95. The Violin Sonata in G major, Op. 96, the tenth and the last of Beethovens sonatas for piano and violin was completed in 1812 and published in 1816. This piece has pastoral characteristics and beautifully closes Beethovens heroic middle period. After the first performance of his Violin Sonata in G Major, Op. 96, on December 29, 1812, Beethovens creativity halted. He was in poor physical and mental condition, and the illness of his brother Caspar Carl caused Beethoven great concern. This poor condition continued until mid-1813. He composed songs and choral pieces but did not complete any major work during 1813. Beethoven began writing a new composition Wellington Victory, or the Battle of Victoria, which celebrated a British victory over Napoleon in the Peninsular War. This piece received sensational acclaim on December 8 and 12, 1813. Viennas leading musicians participated in the performances of Wellington Victory: Hummel and Kapellmeister Salieri played percussion, Schuppanzigh led violins, and Spohr, Mayseder and others joined in the festivities. During these concerts, Beethovens seventh symphony was premiered and received enthusiastically by the audience. After the success of the premier, Beethoven began to compose again at a high level of productivity, which lasted through the early part of 1815. Beethoven was moving toward his late period with patriotic pieces which

15 were characterized by his heroic style, but utilized forms other than what was found in Classical forms like sonata. Instead, he used forms such as the cantatas and the hymn along with instrumental potpourris and medleys. Beethoven made his final version of Leonore (Fidelio) in 1814 from February through mid-May. The new version was considered a celebration of the victory over the Napoleonic wars. Beethoven did not compose any symphonic works from 1812 until he wrote the Ninth Symphony in 1824. His heroic style, that included serious and conflict-ridden characters, faded out after the end of the Napoleonic wars. His late music would be created out of the composers imagination and intellect. The birth and development of his new late style was processed during the entire his last period. During this period, Beethoven was rapidly becoming clinically deaf. His last public performance as a pianist took place on January 25, 1815, when he accompanied the singer Franz Wild in a performance of Adelaide for the Russian Empress. After the death of Beethovens brother in 1815, Caspar Carl, he found himself in a long trial against Johanna van Beethoven for the guardianship of his nephew, Karl which proved to be a difficult procedure for the aging composer. Beethovens health began to deteriorate in 1815. He ultimately developed cirrhosis of the liver, which was accelerated by alcohol. Later in this period, Beethoven occupied himself more with his works and became wholly possessed by his art. The autograph score of Missa Solemnis was finished by mid-1823 and the Diabelli Variations by March or April of the same year. The Ninth Symphony took Beethoven the entire year of 1823 and the first two months of 1824 to complete. The remainder of Beethovens life was devoted to the five String Quartets, op. 127, 130, 131, 132 and 135.

16 During the winter of 1823-1824 Beethoven received an open letter from his Viennese followers asking for the premieres of Missa Solemnis and the Ninth Symphony in Vienna. This heartfelt letter was signed by thirty of the leading musicians, publishers, and music lovers from Vienna. Instigated by this letter, a concert was arranged by the academy on May 7, 1824, at the Krntner Theater. The concert included the Consecration of the House Overture, Op. 124, the Kyrie, Credo, and Agnus Dei of Missa Solemnis, op. 123, and Symphony No. 9 in D minor, Op. 125. The concert was repeated on May 23, with a slight change in programing. These concerts were the last public concerts held for Beethovens benefit during his lifetime. Beethoven died on March 26, 1827 late in the afternoon during a snowfall and thunderstorm. Beethovens music from the last period did not abandon his reliance on the Classical structures. He expanded them with freedom and created a more flexible structure. During his last period, Beethoven explored counterpoint, polyphonic texture, church modes, a pre-Classic richness of ornamentation, and variation procedures. He also composed works with great lyricism in both his vocal and instrumental music. An die ferne Geliebte Op. 98, composed in April 1816, heralded his lyricism of the last period and it bid farewell to the heroic grandiosity. Beethoven composed his last five piano sonatas from mid-1816 to the beginning of 1822. In them, he first shows the fusion of fugue, variation form, and sonata form that is fundamental of his new style. The cello sonatas Op. 102 of 1815 also have these features. In 1817, he began to utilize the polyphonic principle as a rival of the sonata principle. He completed a Fugue in D for String Quintet in that year, later published as Op. 137.

17 Beethovens longest Piano Sonata in B-flat Hmmerklavier, Op. 106, from 1817-1818, has a fugue that constitutes the entire finale. Variation form joined fugue as one of the leading features of his late style and they appear in many of his masterpieces such as the Thirty-three Variations on a Waltz by Diabelli, Op. 120, 1823. Beethoven also wrote the Missa Solemnis, Op. 123, 1819-1823 for his patron Archduke Rudolphs installation as archbishop of Olmtz in Moravia. He researched the music of the Renaissance composers and Baroque composers such as Palestrina, Handel and Bach, and used these older traditions in the sonata style for this piece. In his Ninth Symphony in D minor, Op. 125, 1822-1824, he recollected his heroic style for its grand manner and it became the prototype of nineteenth century Romantic symphony. This piece has unprecedented spaciousness and grandeur with humanist message. Beethovens last five String Quartets, Op. 127, 130, 131, 132, and 135, commissioned by Prince Nikolas Galitzin in November 1822, were completed between 1825 and 1826. The original finale of Op. 130 was used as a separate piece and published as The Grosse Fugue Op. 133. Schotts Sons published Op. 127 in June 1826, but the remaining quartets were published posthumously in 1827.

The Cello Sonata in F major Op. 5, No. 1 Prince Lichnowsky who was a major patron of Beethoven in Vienna arranged a concert tour for Beethoven in February 1796. He departed for Prague, travelling with Prince Lichnowsky. 4 This concert tour was originally planned to last six weeks, but it

Prince Lichnowsky had arranged a concert tour for Mozart like Beethovens seven years before this tour.

18 lasted six months. Beethoven wrote from Prague to his brother Nikolaus Johann in Vienna about his intention of visiting Dresden, Leipzig, and Berlin. I am well, very well. My art is winning me friends and respect, and what more do I want? And this time I shall make a good deal of money, I shall remain here for a few weeks longer and then travel to Dresden, Leipzig and Berlin. On March 11th, he gave a concert in Prague and on April 29th, he played for the Elector of Saxony in Dresden. In Berlin, he played in the court of the King of Prussia, Friedrich Wilhelm II, with the kings employed cellist Jean-Louis Duport. The two Op. 5 cello sonatas were written for this performance. These two cello sonatas were dedicated to King Friedrich Wilhelm II, who was an amateur cellist. The King gave Beethoven a gold snuff box filled with louis dors. He later announced with pride, But such a one as it might have been customary to give to an ambassador. 5 He stayed in Berlin for a month and this tour proved to be very successful from start to finish. In later years, he liked recalling his time in Berlin. In 1810, he told Bettina Brentano that after he finished an improvisation at a Berlin Singakademie concert, The audience did not applaud, but came crowding round me weeping. That is not what we artists wish for; we want applause. 6 Beethovens meeting with the Kings principal cellist, Jean-Louis Duport, was another important event. He learned very much from Duport who was the worlds finest cellist at that time. A few years later Duport summarized his ideas on cello technique in his Essai sur le doigte du viloncelle et sur la conduit de larchet, published in Paris. Duport seemed to inspire Beethoven in writing these sonatas as he proved to be such a
5

Joseph Kerman and Alan Tyson (with Scott G. Burnham). Beethoven, Ludwig Van in Grove Music Online, http://www.oxfordmusiconline.com, accessed June 25, 2013. 6 Watson, 32.

19 talented cellist. Beethoven showed the excitement of working with a great cellist by writing a prominent piano part in these sonatas, provably written for himself. The two cello sonatas of Op. 5 were published in 1797 by the house of Artaria in Vienna who published Beethovens earliest works from Op. 1 through Op. 8. When the cello sonata Op. 5, No. 1 was written, in the early Vienna period (1793-1799), Beethoven was in complete control of the Classical style and inserted his individuality within it. In Bonn, Beethoven preferred variations more than the sonata form. The sonata form was, generally known as, a specialty of the First Viennese School composers, it was the right choice for Beethoven to come to Vienna since Vienna gave him solid musical education. 7 During this early Viennese period, Beethoven composed considerably less than in the years preceding and following. He was preoccupied with revising his Bonn music to reflect the Viennese standards. He started reworking his concertos and chamber music. He was also a famous improviser and pianist, which were reflected in his piano passages like short cadenzas. This short cadenza also appears in the introduction of his cello sonata Op. 5, No. 1. Beethovens two Op. 5 cello sonatas are cleaner Classical style than his later sonatas since they were written in his first period. They have clear divisions between parts and bright contrasts and characters. Motives are simple and light, and the rhythm is regular. His Op. 69 cello sonata in A major was written in his middle period, in 1809 and it is lyrical and long. It has more complex structure than Op. 5 sonatas and the melodies are song-like and emotional. The last two Op. 102 sonatas were composed in 1815, in his
7

Ibid.

20 last period. The No. 1, C major sonata of Op. 102 is short and has two movements. It has quick dynamic changes and unpredictable phrasing. The No. 2, D major sonata of Op. 102 has a slow movement which is the only slow movement of Beethovens five cello sonatas. This movement is still and profound. The last movement of this sonata is a fugato which Beethoven used a lot in his last period. These two Op. 102 sonatas show freer approach to the technique and are very emotional. Beethovens first cello sonata has tremendous originality. 8 First, it is the first true cello and piano duo sonata to be composed by anyone. Beethoven gave the cello unprecedented equality with the piano for the first time. Second, the piano part was completely and virtuosically composed, which was not customary in the cello sonatas in the eighteenth century. Third, Beethoven made unusual and innovative formal experiments, namely a two-movement structure with an extended introduction. However, this formal organization had previously been done before. This may have been inspired by Mozarts violin sonatas in C major, K 303, and in G major, K 379, which are planned similarly. 9 Fourth, Beethoven developed cello technique in this piece. It has the high technique of the cello no less than that of the modern cello pieces. While other Classical composers did not fully utilize the cello, 10 Beethoven elevated the cello to new musical frontiers. The playing time of this piece is about 21 minutes (Adagio sostenuto: 3, Allegro: 11, and Allegro vivace: 7).
8 9

Watson, 31. Ibid., 33.

Though, Haydn wrote two prominent cello concertos in C major (1761-5) and D major (1783) for Anton Kraft who was the first cellist in the orchestra of Esterhazy.
10

21 CHAPTER III THE ANALYSIS OF BEETHOVENS CELLO SONATA IN F MAJOR OP. 5, NO. 1 The Analysis of the First Movement Adagio sostenuto The first movement of Beethovens cello sonata in F major Op. 5, No. 1, has a long, slow introduction. Normally, an introduction functions as a preliminary musical idea, but in this piece, it functions more as a slow movement because it is extensive and has great expressiveness. The historical origin of a slow introduction is most likely from the French Overture in which the principal Allegro was prefaced by a few bars in slow time. 11 The French Overture, employed by Robert Cambert (ca. 1628-1677) and JeanBaptiste Lully (1632-1687), consisted of a Grave tempo marking as an introduction, usually ending on an Allegro on Canzona lines, and then a Minuet or other dance form for the Finale. 12 The primary function of using a slow introduction is to draw attention to some special point of gravity or idea in the work that eventually follows. The slow introduction of a sonata movement typically has solemnity, seriousness, and a strong sense of anticipation. 13 The formal and harmonic organization of a slow introduction is also loose and free compared to other movements. It typically has a slow tempo, dotted rhythms, instability of harmonic progression, minor modality, chromaticism, discontinuity, and hesitant characteristics. Usually, it begins with the tonic harmony in the home key and

11 12

William H. Hadow, Sonata Form [London: Novello, 1896], 44. Ibid., 9. William E. Caplin, Classical Form [Oxford: Oxford University Press, 1998], 203.

13

22 finishes on the dominant chord of the home key to set up an expected tonic chord at the start of the exposition. In this piece, the introduction starts in F major and finishes with a half cadence in F major. The introduction of this piece has 34 measures and includes a dramatic cadenzalike passage in the piano (mm. 29-31). The key structure of the introduction is provided in Figure 1.

Figure 1. Key Structure of the Introduction (Adagio sostenuto) F major m. 1 f minor m. 11 m.17 m.18 m.19 m.20 F major m. 22 V

Tonicized Keys: b-flat, f, A-flat, b-flat, f

According to the key structure, this introduction is tripartite in form (mm. 1-10, 11-21, and 22-34). The first part is the tonic prolongation of the home key, F major. The second part is predominantly in F minor, but tonicizes to B-flat minor, A-flat major, and B-flat minor. This harmonically unstable central part of the introduction shows the sense of uncertainty and serious tone. The whole section is passing to the dominant of the home key, F major in the measure 22. The last part of the introduction stays in the dominant of the home key to prepare the tonic of the main Allegro theme. Now let us more to a closer examination of the motivic content of the introduction. As Figure 2 shows, the introduction starts with scale degree five of F major, C, in a thirty-second note gesture. The first five measures show a common presentation of

23 the melodic material. But the three voices move in heterophony 14, since they use one melody but are not exactly same. In this passage, the piano doubles the melody.

Figure 2. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 1-4

The hesitant and anticipatory character of the slow introduction is expressed by the discontinuity of the melody. Both parts of the melody have rests after each of short motive until measure five (see Figure 2). After this introductory passage, the cello plays a lyrical sustained melody of one measure introduction material (m. 6) and four measures of presentation material (mm. 7-10).

Figure 3. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 510

14

In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations.

24 Contrasting to the unison melodies of the beginning (mm. 1-5), as we can see from the Figure 3, the following passage (mm. 6-14) has a leading voice and a supportive role. In measures 6-10, the cello plays the main melodic material and the piano plays an accompaniment. Then, in the measures 11-14, the piano presents the main melody of the measures 7-10. In the measures 6-10, the cello plays at a much higher register than the piano accompaniment in order for the cello to clearly speak above the piano. This phrase (mm.6-10) is the most prominent melody in the slow introduction. The phrase is an extended tonic prolongation in the home key and continues through to the next passage (mm. 11-14) where the piano plays the same melodic idea in F minor. Here, the cello moves by step in a broken octave motion. (mm. 11-12, see Figure 4).

Figure 4. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 11-16 broken octave

In the measures 17-19, a sequential harmonic process is played. The bass line of the piano part moves up by step (B-flat, C, D-flat, E, F, G, and A-flat) and the cello plays broken sixth chords moving up by step. This passage has a dramatic piano part which we can find in Figure 5 and resolves on V of F major in measure 22.

25 Figure 5. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 17-22 6th 6th 6th 6th

V/F After measure 22, the rest of the introduction remains mostly in the dominant key of F major. The pianist plays a short but brilliant cadenza in measures 29 -31.

Figure 6. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 29-31. (short cadenza passage)

According to Angus Watson, in his book Beethovens Chamber Music in Context,

26 the miniature cadenza is Beethovens signature at this time because of his great improvisation skills. Beethoven liked to add improvisatory passages in his pieces. 15 For this short piano cadenza, the cello plays two long dotted half notes that accompany the cadenza (see Figure 6). After the cadenza, a subito piano at measure 32 calms the excitement of the cadenza to prepare for the Allegro. The introduction finishes quietly with a half cadence in F major preparing for the beginning of the Allegro.

Allegro The Allegro of Beethovens cello sonata in F major Op. 5, No. 1, was written in a sonata form. Sonata form was developed as a response to the growing establishment of the public concert, especially instrumental music 16 in the eighteenth century. Aesthetically, sonata form has flexibility, grace, balance, forward-driving characteristics with symmetry, closure and the resolution of tension. 17 Sonata form was transformed and enlarged from several early eighteenth-century forms that include binary form, ternary form, aria form, and ritornello form. 18 The tonal organization of the sonata form is similar to the binary form. 19 By the time of Bach, most movements in binary form were

15 16 17

Watson, 34. Charles Rosen, Sonata Forms [New York: Norton, 1988], 8.

James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the late Eighteenth-Century Sonata [Oxford: Oxford University Press, 2006], 15.
18

Ibid, 17. Binary form features two sections, each repeated, the first usually moving from tonic

19

27 expanded into rounded binary form. 20 Ternary form is also reflected in sonata form for its three constitutions: exposition, development, and recapitulation, which create an ABA structure. 21 Larger themes and sectional expansions of sonata form 22 developed and enlarged the binary structure. Eventual enlargements to the structure, including slow

introductions and longer codas, have been utilized by composers. Each of the three parts of the sonata form carries thematic and textural differentiation. The theoretical terms and abbreviations for analyzing sonata form are provided below.

to dominant and the second returning to tonic. (I-VV-I) Binary form originated as a form for dances. AA or AB
20

In the rounded binary movement, the B section ends with a return of the opening

material of the A section in the tonic. ABA

Ternary form is a three-part musical form and also called song form. The first and the third parts A are musically identical, or very nearly so. Its constitution is ABA and the B section is often called trio. Sonata form often has built-in repetitions of individual sections.

22

28 Table 1. Theoretical Terms and Abbreviations of Sonata Form PAC Perfect Authentic Cadence. It is the harmonic conclusion of phrase that features motion from V-I in root position. The upper voice ends on the scale degree one above the tonic chord. IAC Imperfect Authentic Cadence. It is similar to PAC except the upper voice ends on scale degree three or five above the tonic chord. HC DC Half Cadence. A cadence that ends on an active V chord. Deceptive Cadence. V-vi or V followed by any non-tonic chord containing scale degree 1. It occurs where an authentic cadence is expected. MT Main Theme or Main Theme zone. It is the first and the most important theme in a sonata movement. It introduces the tonic key and sets the emotional tone of the whole piece. TR Transition. It follows the Main Theme and is the energy-gaining section driving toward the Medial Caesura and the Second Theme. There are two types of TR: modulating TR or non-modulating TR. If it is a modulating TR, it modulates to the secondary key second theme zone. MC Medial Caesura. It is the mid-expositional break. It appears at the end of the transition and is typically followed by the Secondary Theme zone. It is commonly in the dominant key area. If the transition is modulating, the Medial Caesura is built on the dominant of the secondary key area. If the transition is non-modulating, it typically happens on V of the home key. Thus, most MCs have a dominant-arrival effect to prepare for the secondary theme zone.

29 Table 1-continued S Secondary Theme zone. Responding to the MC, the secondary theme zone launches the second phase of the exposition. The Secondary Theme zone is always in a new key. If the Secondary Theme zone has multiple themes, half cadences often appear between the themes. The important tonal purpose of the exposition is to drive to and produce a Perfect Authentic Cadence (PAC) in a new secondary key at the end of the secondary theme zone, most commonly a PAC of V in major key, or a PAC of III or v in minor keys. EEC Essential Expositional Closure. It is the first satisfactory Perfect Authentic Cadence within the Secondary key. Producing the EEC is the main function of the secondary theme zone. C Closing zone or closing section. It follows the EEC and continues to the end of the exposition. One or more additional cadences, such as a PAC, may follow within the closing section. It may have closing themes, which may or may not use the main thematic material, but will have a function of creating a closing gesture. RT Retransition. RT is a passage that generally leads to the return of the main theme in the home key. It is a connective passage of preparation, usually leading to the repeat of the exposition, the onset of the recapitulation. It is in the home key and mostly finishes on the dominant for a resolution of the tonic in the home key of the exposition or recapitulation.

30 Table 1-continued Core The main sections of the development. In the development, it typically projects an emotional quality of instability, restlessness and dramatic conflict. Its dynamic level is usually forte and brings an increase in rhythmic activity. Polyphonic devices such as imitation, canon, and fugal passages can contribute to a further complexity of the musical texture. It often models a fragment of previous themes in 4-8 measure passages as well as utilizes sequences. PreCore A calm and sensitive section before the core in the development section. It is the initial part to the development and functions as an introduction of the development. It prepares the dramatic and intensive drive of the core. ESC Essential Structural Closure. It is the first satisfactory PAC of the secondary theme zone within the recapitulation. It is followed by the closing section of the recapitulation. The ESC is normally the recapitulations parallel point to the expositions EEC. Importantly, the ESC is in the home key as a secondary theme zone of the recapitulation has been transposed to the home key. Coda A coda functions as the movements genuine conclusion and has a temporal quality of after-the-end, since it follows the ESC. It is an optional section in sonata-form movement. It gives an opportunity to impart a circular design to the overall form by recalling main theme ideas or the development section to shape a concluding dynamic curve that

31 differs from that of the recapitulation. The Coda tends to remain in the home key, although various tonal regions may be briefly explored. Note: These Terms and Abbreviations are all from the book Classical Form by William E. Caplin (PAC, IAC, HC, DC, MT, TR, S, C, RT, Core, Pre-core and Coda) and Elements of Sonata Theory: Norms, Types, and Deformations in the late Eighteenth-Century Sonata by James Hepokoski and Warren Darcy (MC, EEC and ESC). Figure 7. Structure of the Sonata Form

Retransition MC EEC

Retransition MC

Final Cadence ESC

MT M: I m: i

TR

,S V III

Pre-core, Core multiple key areas multiple key areas (Development)

, MT TR V-I V-i

,S I i

C I i (Coda)

(Exposition)

(Recapitulation)

A sonata has a dramatic plot that has a beginning, middle, and a generic conclusion of resolution and confirmation. The tonal hierarchy of a sonata-form movement is provided below. 23

23

Caplin, 140.

32 Table 2. Tonal Hierarchy 1. Home Key 2. Secondary Key 3. Development Keys 4. Tonicized Regions (no cadential confirmation) 5. Local Tonicizations

Let us now explore the movements particular interactions with the sonata form conventions I have just summarized. The Allegro of Beethovens cello sonata in F major Op. 5, No. 1, is lively and sparkling, with a strong sense of forward motion.

Exposition The three principal functions of the exposition in a sonata-form movement are the main theme, transition and secondary theme zone. The harmonic task of the exposition is to propose the initial tonic key and then move to and cadence in a secondary key. As Figure 7 summarizes, in a major key, the most common secondary key in the eighteenth-century was the dominant key. In a minor key, this was usually the key of the mediant, although it is possible to find a modulation to the minor keys dominant. In the exposition, the main theme expresses the home key through cadential closure. Likewise, a secondary theme occurring after the main theme confirms the secondary key. Found between the first and second theme is the transition that helps destabilize the home key and can modulates to the secondary key. The formal structure and key structure of the exposition of Allegro of Beethovens cello sonata Op. 5, No. 1 is provided below.

33 Table 3. Formal Structure of the Exposition of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Main theme Transition Secondary theme zone Closing section (including a retransition) mm. 35-57 mm. 57-72 (Medial Caesura at m. 72) mm. 72-143 (EEC at m. 143) mm. 143-160 (retransition: mm. 158-160)

Figure 8. Key Structure of the Exposition of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 MT TR S C RT

F major C major F major Note 1: Tonicizations in the Secondary Theme Zone: C major (mm. 73-76), D minor (mm. 76-80), C major (mm. 81-88), D minor (mm. 88-92), C major (mm.92-97), C minor (mm. 97-103), C major (mm. 104-125), C minor (mm. 125-126), A-flat major (mm. 127-132), B-flat major (mm. 133-134), C major (mm. 135-143). Note 2: First Ending of the Retransition (mm. 158-160): F major, Second Ending of the Retransition: A major.

The main theme is normally tight-knit 24. In the Classical period, the most important main themes are tightly constructed and can be found as a sentence, period or small ternary form. 25 The main theme of the first movement of Beethovens cello sonata in F major Op. 5, No. 1, is a sentence.

24 25

This term tight-knit is used in the book Classical Form by W. E. Caplin. Ibid., 71.

34 Figure 9. Sentence Structure Sentence: basic idea + basic idea + continuation phrase+ cadential phrase* *A basic idea of a theme usually has melodic or rhythmic motives which constitutes the primary material of a theme. Continuation phrase of a sentence is the second phrase of the sentence. Cadential phrase of a sentence is the last phrase of the sentence. It has cadential progression to end the sentence.

As Figure 10 shows, each instrument presents the main theme of the exposition over a steady, pulsating rhythmic accompaniment.

35 Figure 10. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 35-57. Main Theme (Sentence): basic idea (mm. 35-38) + basic idea (mm. 39-42) + continuation (mm. 43-46) + cadential (mm. 47-49: PAC) Main theme: sentence (mm. 35-49) + repetition (mm. 49-57)

The piano plays the main theme first with sweet ornamentations over the cellos ostinato accompaniment. The second basic idea (mm. 39-42) is not exactly same with the first basic idea but played a whole step lower (CB-flat), which is one of the common ways composers handle the basic idea repetition. Cadential progression (mm. 45-49: II6I-V7-I) of this main theme begins at the middle of the continuation phrase (m. 45) and it is elaborated by a chromatic scale in the piano. The PAC of the main theme is elided with beginning of cellos repetition of main theme. From the measure 49, the cello repeats the

36 main theme. When the cello plays the main theme (mm. 49-57), the sentence has a truncated second basic idea (basic idea: mm. 49-52 + basic idea: mm. 53-54) and condensed continuation and cadential phrase (continuation + cadential: mm. 55-57). The piano now plays an accompaniment for cello and it provides a lively and bouncy effect. The motives of the basic idea of the main theme are used frequently throughout the entire movement. They are used in the transitional sections as well as in the development. The transition (mm. 57-72) begins right after the PAC of the main theme at the measure 57. The transition is less tightly knit than the main theme. It destabilizes the home key and features harmonic instability, a sequential progression, and an emphasis on the dominant. It connects the home key to the new key of the secondary theme zone. The transition can be categorized as non-modulating or modulating, and the harmonic goal of a transition is normally toward the dominant key area. It frequently features passages such as arpeggiations or scale patterns, not tuneful melodies and are typically characterized by a significant increase in dynamic intensity and forward motion. The transition of the exposition of this movement is non- modulating. Although there are B-naturals found as passing tones within the transition, 26 it remains in F major, because the dominant arrival at the end of the transition is on C (V of F major). The transition consists of arpeggiations and scales in the piano and a simple melody heard in the cello. After the medial caesura 27 of the transition at the measure 72, a lyrical secondary theme is played (mm. 73-84, see Figure 11).

26

There is a G7 chord, a V/V in measure 64 which launches TR toward C major. See p. 28.

27

37 Figure 11. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 70-80. Secondary theme (three phrase period): antecedent (mm. 73-76) + 1st consequent (mm. 77-80) + 2nd consequent (mm. 81-84) Secondary theme

The secondary theme contrasts the main theme by using a different key area and a freer structural organization. The secondary theme zone ends with a PAC in the secondary key and is almost always followed by a closing section. In most major key sonata-form movements, the secondary theme is played in the dominant of the home key. In this piece, the secondary theme is in C major. However, as we can see in Figure 11, Beethoven used accidentals (VI: A-C-E) in the secondary theme which creates sentimental and lyrical effect. The first chord of the secondary theme uses an Aflat (VI of C major), though it cadences in C major (mm. 73-76) and the consequent phrase of the secondary theme tonicizes to D minor (mm. 77-80). The structure of this secondary theme is a three phrase period 28 (antecedent phrase: mm. 73-76 (C major),

28

Period Structure: basic idea - contrasting idea (antecedent phrase: HC or IAC) + basic idea - contrasting idea (consequent phrase: PAC)

38 first consequent phrase: mm. 77-80 (wrong key: D minor), second consequent phrase: 8184 (fixed: C major)) 29. And the secondary theme is repeated in measures 85-107. From the beginning of Beethovens compositional career as a composer, he tried to find substitutes for the dominant in the classical tonic-dominant system. He used the mediant or submediant in his pieces instead of the dominant (for example, in the Waldstein sonata, Hmmerklavier sonata, Symphony Op. 9, or Quartet Op. 127 and 130). 30 The secondary theme in this movement tonicizes to D minor which is minor submediant of the home key. This tonicization of the minor mode adds an unexpected minor key sentimentality to the secondary theme. The entire secondary theme closes with a half cadence in C major in the measure 84. The basic idea of the first consequent is, however, not identical to the antecedent phrase of the period, but is played one whole step higher (Cd, see Figure 11). The second consequent of the secondary theme (mm. 81-84) are in C major and the repetition of the secondary theme (mm. 85-107) is played. The repetition of the secondary theme has the same three part periodic structure as the secondary theme, but the third phrase is greatly expanded and altered upon its repetition in measures 93-107. The basic idea of the each antecedent and the first consequent phrase of the repeated theme is ornamented by neighboring tones (mm. 85-92, see Figure 12).

Antecedent phrase of a period is the first phrase of a period, containing a basic idea followed by a contrasting idea. It has a week cadence (HC or IAC). Consequent phrase is the second phrase of a period. It restates the basic idea from the antecedent phrase, followed by a contrasting idea. It has a strong cadence (PAC).
30

29

Charles Rosen. The Classical Style: Haydn, Mozart, Beethoven [London: Faber and Faber, 1971], 382.

39 Figure 12. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 81-92. Repetition of secondary theme: mm. 85-107 second consequent of secondary themerepetition of the secondary theme

. The third phrase (second consequent) of the repeated secondary theme in the measures 93-107 is rhythmical and utilizes downward scales. It is played with soft dynamics but is very lively (see Figure 13).

40 Figure 13. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 93-104 third phrase (second consequent) of the repeated secondary theme

This passage creates a conversation between the piano and cello. The piano elaborates the passage with fast scales, grace notes, and repetitions. After the IAC of this section (m. 107), a lively melody is found in the piano (mm. 108-113, see Figure 14).

41 Figure 14. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 108-123 sequential lively melody (mm. 108-113)

As Figure 14 shows, this melody is a sequential pattern with two downward diatonic steps before a leap upward of a fourth and moving up (for example, m. 108: G, F, E-A). It is played in C major and cadences on V of C major at measure 114. In the middle of the passage, secondary dominants (V/ii-ii-V/iii-iii-V/IV-IV in measures 109-110) elaborate the melody with unexpected accidentals. After this playful passage, three measures of downward scales are found (mm. 114-116) and they are followed by a simple melody in measure 117. The melody of this passage (mm. 117-124) has no distinct motivic ideas to designate thematic material. After this, a passage to EEC is played (mm. 125-143). This transitional section tonicizes to C minor (m. 126), A-flat major (mm. 127132), B-flat major (mm. 133-134) and then back to C major (mm. 135-143). The PAC of

42 C major of this transitional section is marked by the EEC at measure 143 that is the first satisfactory PAC of the secondary key in the exposition. This is the tonal turning point that ends the secondary theme zone and begins the closing section (see Figure 15).

Figure 15. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 143-152. EEC: m. 143 (PAC of C major) EEC: I/C major (PAC)

After the EEC, the closing section begins (mm. 143-160). Between measures 143 and 151, immediately following the EEC, a beautiful closing theme is played as we can see in Figure 15. This closing theme is played in turns by the piano and cello. The theme is in a periodic structure (antecedent: mm. 143-147 and consequent: 147-151) and the consequent phrases finishes with a PAC (m. 151). After the closing theme, a dramatic dynamic motion begins (mm. 151-160) toward the retransition (mm. 158-160) of the exposition. This closing section once again confirms the secondary key, C major, and the first ending of the retransition is played in F major. The first ending of the retransition finishes with V7 chord of F major to prepare the tonic of the main theme and the second

43 ending of the retransition closes with a half cadence in A major that will start development section (see Figure 16).

Figure 16. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 153-160

retransition. 1st ending: F major 2nd ending: A major (beginning key of the development) Development The development is the middle section of a sonata-form movement. A development brings the greatest degree of unstable tonal and phrase structure to the movement and thus, motivates a restoration of stability. A development features a freer organization than its preceding section, sequential progressions in the multiple theme-like units, avoidance of authentic cadential closure in the home key, and an ending in the dominant key area. It emphasizes minor key tonality and consists of successive remote modulations. Submediant, subdominant or supertonic key areas of the home key are often

44 used as developmental keys. 31 A development usually feature pre-core and core units. Pre-core units are an initial part of the development and functions as an introduction to this section. It is soft and less active, and prepares the great emotional intensity of the core. The pre-core is considered the calm before the storm. 32 It sometimes uses the expositions basic thematic material. The core of the development consists of themes or fragments in an imitative contrapuntal texture. It also may often uses material from the basic idea of the main theme. The core typically projects an emotional quality of instability, restless, and dramatic conflict along with featuring a forte dynamic level. It often features polyphonic devices such as imitation, canon, or fugal passages that can further contribute to the complex texture. The core consists of a model and sequences, and a model is usually 4-8 measures long. Sequences rapidly modulate. After the core, a transition-like unit or secondary theme-like unit can appear. At the end of a development usually comes a retransition that modulates back to the home key. The last chord of a development is typically the dominant of the home key to prepare the main theme of the recapitulation. The development of the first movement of Beethovens cello sonata in F major Op. 5, No. 1, has a wide range of structural instability, restlessness, minor tonality and forward motion. The formal structure and the key structure of the development are provided below.

31

Caplin, 141. Ibid., 147.

32

45 Table 4. Formal Structure of the Development of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Pre-core Core (model and sequence) Continuation Transition-like unit Theme-like unit Retransition mm. 161-171 mm. 172-187 (model: mm. 172-178, sequence: mm. 178-187) mm. 188-194 mm. 195-204 mm. 205-216 mm. 217-220

Table 5. Key Structure and tonicized areas in the Development of the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Pre-Core (mm. 161-171) Core (mm. 172-187) A major A major (m. 172) D minor (mm. 173-178) G minor (mm. 179-185) C minor (mm. 186-187) C minor (mm. 186-188) A-flat major (mm. 189-190) F minor (mm. 191-194) F minor (mm. 195-204) D-flat major (mm. 205-210) C minor (mm. 211-212) D minor (mm. 212-213) E minor (mm. 213-214) A minor (mm. 214-215) G minor (mm. 215-216) C major (m. 216) F major (mm. 217-220)

Continuation (mm. 188-194) Transition-like unit (mm. 195-204) Theme-like unit (mm. 205-216)

Retransition (mm. 217220)

Beethoven often experimented with the mediant and submediant key areas that contribute to a long-range dissonance against the tonic in the development. 33 They
33

Rosen, 354.

46 provide the tension for a move towards a central climax. The first key area of the development in the first movement of Beethovens cello sonata in F major Op. 5, No. 1 is A major, the major mediant key of the home key. As we can see in Figure 17, the pre-core (mm. 161-171), which opens the development, uses the basic idea of the main theme from the exposition.

Figure 17. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 161169 Pre-core: A major (mm. 161-171)

The character of the pre-core is normally quiet and hesitant. In this piece, the precore is played with a soft dynamic and includes many rests that create a hesitant and anticipatory feeling. Since the pre-core is considered the calm before the storm, a quiet atmosphere is disrupted by the sudden forte of the core (mm. 172-187, see Figure 18).

47 Figure 18. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 171-179 Core: model (mm. 172-178) + sequence (mm. 179-187)

The motives of the core come from the basic idea of the main theme (see the cello part of Figure 18). It begins with the tonic of A major, but quickly modulates to D minor in the next measure. Thus, the model of the core (mm. 172-178) is played in D minor and finishes with the PAC in D minor at the measure 178. The sequence of the core (mm. 178-187) starts simultaneously with the previous PAC, resulting in the first measure of the sequence occurring on the tonic of D minor. The next measure of the sequence modulates to G minor and remains in G minor. The core shows restlessness, forte dynamic, and contrapuntal structure. The fragments of core model is played in the measures 184-187. The continuation of the core (mm. 188-194) is still forte and restless. The transition-like unit (mm. 195-204, see Figure 19) consists of repetitions of the

48 fragmentation of the core model (cello part: mm.196, 198, 200 and 202-203), which originally came from the basic idea of the main theme. Figure 19 shows that fast broken chords of the piano in this section are brilliant and dramatic.

Figure 19. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 195-204 Transition-like unit (mm. 195-204)

This section is in F minor which is parallel minor of the home key. Beethoven often used the parallel minor key for the development. 34 The next section starts in the measure 205. It is a theme-like unit (mm. 205-216) and starts in D-flat major (mm. 205-210) and then explores an ascending step sequence to tonicize (mm. 211-216: C minor, D minor, E minor, A minor, G minor and C minor). The

34

Caplin, 141.

49 melody of this section is heard in the piano along with the cellos long, D-flat accompaniment. Soft chords in the piano freshly change the mood and calm the restlessness from the core. The bass notes of this section starts with D-flat and rise by half step (D-flat, D, E-flat, E, F, F-sharp, G, G-sharp, A, B-flat and B) that finally arrives on C, which is the dominant of F major at measure 217. The retransition of the development (mm. 217-220) is four measures in length, as Figure 20 shows. V7 of F major (mm. 219220) prepares the resolution of the main theme of the recapitulation.

Figure 20. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 217220 Retransition of the development (mm. 217-220)

Recapitulation The recapitulation brings back the earlier exposition in modified form. It creates symmetry and balance to the movement by restating the thematic material of the exposition. The most apparent difference from the exposition is that the secondary theme zone in the recapitulation is in the home key. It finishes with a PAC in the home key. The recapitulation can have ornamental changes (dynamic, instrumentation, register, texture, or melodic embellishments) or structural changes (tonal-organization, melodic-motivic material, or formal functions) from the exposition. The recapitulation begins in the home key with the basic idea of the main theme

50 from the exposition. The main theme of the recapitulation has a sense of return and functions as a resolution of the dominant at the end of the development. The transition of the recapitulation also usually destabilizes the home key, similarly as it in the exposition, except the transition in recap is usually modified not to modulate the secondary theme and it provides freshness to the secondary theme when transposed to the home key. The closing section of the recapitulation leads the secondary theme zone to the beginning of the coda. At the end of the recapitulation, many composers add a coda, which is an Optional section. It has a quality of after-the-end and finishes with a PAC in the home key. It functions as the movements genuine conclusion and remains in the home key except a few brief tonicizations. The coda often has simple themes which reflect previous ideas from the main theme or development material. Many of Beethovens codas have a great dynamic curve. In the first movement of his cello sonata in F major op. 5, No, 1, the coda is extended and delayed by an Adagio and Presto passages. The recapitulation of the first movement of Beethovens cello sonata in F major Op. 5, No 1, contains the main theme, transition, modified secondary theme zone, and an extensive coda. The formal and key structure of the recapitulation is provided below.

Table 6. Formal Structure of the Recapitulation from the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Main theme Transition Secondary theme zone Closing section Coda mm. 221-232 mm. 232-253 mm. 253-324 mm. 324-341 mm. 342-400

51 Table 7. Key Structure and tonicized areas in the Recapitulation from the Allegro of Beethovens Cello Sonata in F major, Op. 5, No. 1 Main Theme (mm. 221-232) Transition (mm. 232-253) Secondary theme Zone (mm 254-324) F major B-flat major (mm. 232-242) G minor (mm. 243-245) F major (mm. 245-253) F major (mm. 254-257) G minor (mm. 257-261) F major (mm. 262-269) G minor (mm. 269-273) F major (mm. 274-307) D-flat major (mm. 308-312) C minor (mm. 313-314) E-flat major (mm. 314-315) F major (mm. 316-324) F major (mm. 324-341) C major (mm. 342-343) D minor (mm. 343-344) E-flat major (mm. 344-345) F major (mm. 345-350) C minor (mm. 350-351) B-flat major (mm. 352-353) G minor (mm. 353-356) F major (mm. 356-358) F minor (mm. 359-361) E-flat major (mm. 362-367) F major (mm. 367-400)

Closing Section (mm. 324-341) Coda (mm. 342-400)

As Figure 22 shows, the main theme of the recapitulation (mm. 221-232) is played by piano with more ornamentations compared to the exposition. The cello maintains simple accompaniment.

52 Figure 21. Main Theme in the Recapitulaion (mm. 221-232) Sentence: b. i. (mm. 221-224) - b. i. (mm. 225-228) - cont. + cad. (mm. 229-232)

Figure 22. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 221-232 Main theme in the recapitulation (sentence: mm. 221-232)

The main theme of the recapitulation is a sentence like that of the exposition. The first basic idea finishes with a half cadence (m. 224) and the second basic idea finishes with a PAC (m. 228). A continuation and cadential phrase is played for four more measures (mm. 229-232) and ends with a PAC in measure 232. The PAC in measure 228 has an appoggiatura that makes the cadence weaker. The more definite PAC at the end of the main theme happens in measure 232. The recapitulation already starts to modify

53 and change the organization, instrumentation, and melodic embellishments by the omission of the restatement and more ornamentations of the main theme. After the PAC in measure 232, the transition is played through measure 253. The transition in the recapitulation destabilizes the home key with modulations and tonicizations. 35 Compared to the non-modulating transition of the exposition, the transition in the recapitulation tonicizes to modify the secondary theme in the home key (B-flat major, G minor, and F major). At the beginning of the transition, the cello has the main theme melody in F major (mm. 232-235), 36 seemingly making the passage a repetition of the main theme like the exposition. The transition of the recapitulation finishes with V of F major at measure 253. The secondary theme (mm. 254-265, see Figure 23) starts VI of F major.

35 36

Tonicized region is shorter than modulation and has no cadential confirmation.

The first four measures of the transition uses four measure basic idea of the main theme. It is in F major, but the piano accompaniment begins to tonicize to B-flat in measure 233 by making F7 with E-flat rather than F.

54 Figure 23. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 253267 Secondary theme in the recapitulation (mm.254-265)

The second theme in the recapitulation has the exactly same organization as in the exposition. It is a three-part period with a repetition. The antecedent phrase is in F major (mm. 254-257), the first consequent phrase is played in G minor (mm. 258-261) and the second consequent phrase is again in F major (mm. 262-265). The basic idea of the first consequent phrase is played a whole step higher than the antecedent phrase (AB). The secondary theme in the recapitulation finishes with a half cadence in F major at measure 265 (see Figure 23). After the secondary theme, a repetition of the secondary theme occurs as in the exposition (mm. 266-288). After the repetition of the secondary theme, a sequential, lively melody is played by the piano between the measure 289 and 295 in F major (see Figure 24).

55 Figure 24. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 286295

This playful melody is elaborated by secondary dominants (mm. 290-291: V/IV) and changes the mood. This melody finishes on V7 of F major in measure 295. As in the exposition, a downward scale is played for three measures (mm. 295-297) and continues to a melodic passage in measure 298. This gentle melody (mm. 298-305) is played in F major and emphasizes the home key. After this passage, a transitional section is played to the ESC (m. 324). This transitional section (mm. 306-324) starts in F major and tonicizes D-flat major, C minor, E-flat major, before returning to F major. This transitional section has ascending and descending scales as well as arpeggios. After the ESC at measure 324, the closing section begins (mm. 324-341). The closing theme (mm. 324-332) is played in F major. After the PAC of the closing theme at measure 332, the rest of the closing section has two long crescendos and gains power into the Coda (see Figure 25).

56 Figure 25. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 337342 Coda (mm. 342-400)

The coda (mm. 342-400) has two distinct sections which are Adagio and Presto (see Figure 26 and 27). The coda begins in C major and tonicizes D minor, E-flat major, F major, C minor, B-flat major, G minor, F major, and F minor before the Adagio section. The melody of the coda uses the basic idea of the main theme. The Adagio section (mm. 362-367) is in E-flat major.

Figure 26. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 362-367

The Adagio of the coda reflects the slow introduction, as we can see in Figure 26. It is soft and dreamy, but the sudden fast triplets break the mood at the beginning of the Presto.

57 Figure 27. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 368-371

The Presto section confirms the home key of F major after many long tonicizations. It has dynamic and powerful characteristics. After the sparkling Presto that has fast scales and trills, at Tempo I, the last section of the movement starts with the main themes basic idea (see Figure 28).

Figure 28. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 380-391

Bouncy ostinato accompaniment of the piano makes the passage very rhythmical. The repetitions of motives of the main theme provide unity until the end of the piece. Tempo I makes a brilliant ending for the movement. The section is entirely in F major

58 and finishes with two powerful F major chords.

The Analysis of the Second Movement Rondo Allegro vivace In the Classical period, many rondo-form movements are written in sonata-rondo form and composers allocated the sonata-rondo movement almost always at the fast, final movements. The sonata-rondo form integrates features of the sonata form and the fivepart rondo form (ABACA) because the sonata-rondo form (ABACABA) has a tripartite organization of exposition, development and recapitulation.

Table 8. The Structure of the Sonata-Rondo Form Term Refrain 1 (A) Couplet 1 (B) Refrain 2 (A) Couplet 2 (C) Refrain 3 (A) Couplet 3 (B) Refrain 4 (A) Formal Function Exposition of the main theme Exposition of the secondary theme zone First return of the main theme Development (or interior theme zone) Recapitulation of the main theme Recapitulation of the secondary theme zone Coda (including final return of the main theme) Tonal Region I V I various I I I

59 Table 9. Formal Structure of the Allegro vivace from Beethovens Cello Sonata in F major, Op. 5, No. 1 A B A C A B A (Coda) mm. 1-24 mm. 24-65 mm. 66-75 mm. 76-140 mm. 141-167 mm. 167-234 mm. 235-290

60 Table 10. Key Structure and tonicized areas in the Allegro vivace from Beethovens Cello Sonata in F major, Op. 5, No. 1 Refrain 1 (A) Couplet 1 (B) F major (mm. 1-14) B-flat major (mm. 15-19) F major (mm. 19-24) F major (mm. 24-25) G minor (mm. 25-27) F major (mm. 27-29) C major (mm. 29-59) A-flat major (mm. 60-63) F minor (m. 64-65) F major (mm. 66-75) F minor (mm. 76-77) D-flat major (mm. 78-80) B-flat minor (mm. 80-89) F minor (mm. 90-92) B-flat minor (mm. 93-97) F minor (mm. 98-100), A-flat major (mm. 101-102) B-flat minor (mm. 103-108, except measure 104: B-flat major) A-flat major (109-110) B-flat minor (mm. 111-116, except measure 112: B-flat major) G-flat major (mm. 117-122) D-flat major (mm. 122-128) F major (mm. 128-140) F major (mm. 141-154) B-flat major (mm. 155-162) F major (mm. 163-167) F major (mm. 167-200) C minor (mm. 201-202) D-flat major (mm. 203-209) B-flat minor (mm. 209-213) G-flat major (mm. 213-218) F minor (mm. 219-227) F major (mm. 228-234) F major (mm. 235-290) Brief tonicizations (B-flat major: mm. 247-254, G minor: mm. 254-258 and D minor: mm. 270-273)

Refrain 2 (A) Couplet 2 (C)

Refrain 3 (A) Couplet 3 (B)

Refrain 4 (A) Coda

The second movement of Beethovens cello sonata in F major Op. 5, No. 1, is

61 elegant and bouncy.

Figure 29. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 1-24 Main theme: period (antecedent: mm. 1-4 and consequent: mm. 5-10)

The main theme of this movement is a ten-measure period. The antecedent phrase of the main theme ends with an HC (m. 4) and the consequent, if it were constructed in an exactly parallel manner, should end with a PAC (m. 8). However, Beethoven extends the consequent phrase by repeating the contrasting idea such that the

62 period-ending PAC is in measure 10. The melody of the main theme is light and elegant, as we can see in Figure 29, and the consequent phrase is found in the piano. Measures 11-24 are sentence structure, a second main theme idea (basic idea: mm. 11-12 and 13-14, continuation and cadential: mm. 15-24). Thus this rondo movement has a two-part main theme: a period and a sentence. Rhythmical motives are played in turns by the cello and piano (mm. 11-14 and 15-18) and Refrain 1 finishes with an HC in F major in measure 24. Couplet 1 is relatable to the exposition of the secondary theme zone. This section is more lyrical and calm compared to the main theme, and has many accidentals at the beginning of the section (see Figure 30).

Figure 30. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 2535 Couplet 1 (mm. 24-65)

Couplet 1 creates conversation between the cello and piano, which makes the passage sweet and amusing. It has a PAC in measure 52 and rest of the section is

63 transitional. The transitional section in measures 52-59 has chromatic scale patterns and arpeggiated repetitions of a simple, two-note figure.

Figure 31. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 60-63 False recapitulation (mm. 60-65)

As Figure 31 shows, the main theme is played in A-flat major between measures 60 - 65. But this section is a false recapitulation. It is not the main theme refrain because it is not in the home key and it functions as a melodic retransition to Refrain 2.

Figure 32. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 6476 Refrain 2 (mm. 66-75)

64 Figure 32 shows that the refrain 2 (mm. 66-75) is now played in F major. It is an incomplete refrain because the second part of the main theme, the sentence, has been excised entirely. The repetition of the contrasting idea (mm. 74-75) of the consequent phrase is rapidly connected to Couplet 2 (mm. 76-140). Couplet 2 functions as a development since it is a central section of the whole sonata rondo. It is also called an interior theme zone. 37 The beginning section of Couplet 2 (mm. 76-84) is a transition to the interior theme 1 (mm. 85-100). Beethoven starts this section in the parallel minor key area (mm. 76-77). The passage then modulates to D-flat major (mm. 78-80) and B-flat minor (mm. 81-84). The character of this transition is passionate and rhythmic, and has sforzandos on the weak beats. As we can find in Figure 33, the melody of the interior theme 1 (mm. 85-100) is played alternately by the piano and the cello, and repeated identically (mm. 85-92 and mm. 93-100).

37

Ibid., 234.

65 Figure 33. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 83 94 Interior theme 1(mm. 85-100)

This interior theme 1 features dynamic motion with repeated motives. The motives are modifications of the basic idea. This theme is also passionate and functions like a core in development of a sonata form movement. However, it cannot be a core because it doesnt have modulated sequences, but only has a repetition. The key of this section is in B-flat minor and F minor, which are the minor subdominant and parallel minor key of the home key. The subdominant key is one of common developmental keys and parallel minor key was often used by Beethoven in his development sections. 38 The material of this interior theme 1 is used in the transitional section between two interior themes. This transitional section (mm. 101-116) can also be seen as a
38

Ibid., 141.

66 continuation of the interior theme 1 because it consists of modulated fragmentations of the interior theme 1. This section is first played in A-flat major, then B-flat minor. This section is also repeated once with the same tonal organization. The emotional quality of instability, restlessness, and dramatic conflict of this interior theme zone resolves at the interior theme 2 (mm. 117-136, see Figure 34).

Figure 34. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 117131 Interior theme 2 (mm. 117-136)

This interior theme 2 is more relaxed and quiet when compared to the dramatic character of the interior theme 1. A soft dynamic level is rendered and the major tonality relieves the minor keys intensity of the previous section. As Figure 34 shows, in this section, the cello has a passive role. It remains on the same note by providing the tonal root. The piano has a hesitant character by playing in the high and low registers. This interior theme 2 starts with the tonic triad of G-flat major and modulates to D-flat major (m. 122) and to F major (m. 128). The retransitional passage (mm. 137-140,

67 see Figure 35) after the interior theme 2 starts with a dominant triad of F major. This passage has again repeated portions of the transitional section of Couplet 1 (mm. 52-59).

Figure 35. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 138-146 Refrain 3 (mm. 141-167)

Refrain 3 (mm. 141-167) has a complete version of the main theme (period: mm. 141-150 and sentence: 151-167). The formal function of Refrain 3 is the recapitulation of the main theme. As Figure 35 shows, the main theme of Refrain 3 has more elaborated piano and cello parts than the refrain 1. This section is in F major (mm. 141-154) and modulates to B-flat major (mm. 155-162). The last five measures of Refrain 3 are in the home key (mm. 163-167).

68 Figure 36. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 169-181 Couplet 3 (mm. 167-234)

Couplet 3 (mm. 167-234, see Figure 36) is the recapitulation of the secondary theme zone. The lyrical conversation between the cello and piano of Couplet 3 is extended by six more measures than that of Couplet 1 by using repetitions. It has a PAC in the home key at measure 197 while Couplet 1 has the PAC of the dominant key at measure 52. Here we can see one of the unique features of the sonata-rondo form. In a sonata-rondo form, the secondary theme of the recapitulation is transposed to the home key versus its original dominant key in the exposition. The remainder of this section has material from the interior theme 2.

69 Figure 37. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 202-211 Interior theme 2 of recap.

This passage (mm. 205-218) is the interior theme 2 of recapitulation. Prior to this section, a short minor mode passage is played and it makes the major mode resolution in measure 205 more effective (see Figure 37). The repetition of the A-flat in the cello part brings more tension before the resolution. After this passage, the transitional section to Refrain 4 (Coda) is played in F minor using fragments of the basic idea of the main theme (see Figure 38).

70 Figure 38. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 219 229 Transitional section to Refrain 4

As Figure 38 shows, the transition has an agitated character with the piano dynamic and the pitch registers of the fragments are continuously moving up until the main theme of Refrain 4 begins. The expectation of the bright and brilliant arrival of the main theme is satisfied with the main theme featured one octave higher at measure 235 (see Figure 39).

71 Figure 39. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 234-243 Refrain 4 (mm. 235-290) octave passage

In this movement, the PAC of the main theme in the final refrain is emphasized and delayed by the cellos continuous octave passages (see Figure 39). The coda (Refrain 4) continuously uses fragments of the main theme. The sparkling character of these fragments constantly appears until the Adagio begins in measure 281. In measures 268-280, a long rallentando and ritardando are played which uses the material of the contrasting idea of the main theme. Like the first movement, the Adagio passage appears for two measures (mm. 281-282, see Figure 40) and delays the final forte passage of the end.

72 Figure 40. Beethovens Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 278-290

After the PAC of the Adagio (m. 283), Tempo primo (mm. 283-290) dynamically brings the whole movement to the end. This passage also uses the motives of the basic idea from the main theme. The whole piece ends with a PAC in F major.

73 CHAPTER IV THE PERFORMANCE EDITION OF BEETHOVENS CELLO SONATA IN F MAJOR OP. 5, NO. 1

The Performance Edition Score

Performance Edition by JeeHyung Moon

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90 The Performance Guide for the Edition Editorial Commentary Since Beethovens Cello Sonata Op. 5, No. 1 was written in his first period, I referred to various treatises about the information on musical style and performance in the eighteenth-century for the performance edition. The cello in 1796, as an instrument, was not same as the modern cello. The endpin of the cello, which is an essential part in the modern cello, was not yet invented. Adrian Franois Servais (1807-1866) invented the cellos endpin around 1860. Franois Tourte (1747-1835) standardized the bows design around 1785, which afforded string instruments greater volume, focus, and brilliance. However, bowing technique using the Tourte model was not examined in detail until the publishing of Mthod de Violon (1803) by Baillot, Rode, and Kreutzer. 39 Tourtes model co-existed with the transitional bow and Baroque bow in 1796 and around 1810, the Tourte model became widely used. 40 During the Classical period, cellists still used gut strings. More reliable and brilliant metal-wound strings were increasingly used towards the end of the eighteenthcentury. Cellists normally used uncovered gut for the upper two and silver or copper wound gut for the lower two strings. 41 There were also different performance practices in the Classical period compared to modern style. Preference of soft and gentle sound, messa di voce (crescendo-decrescendo of a note or one bow stroke), and rhythmic alteration such as the lengthening of a dotted note, are recognizable characteristics of the Howard Mayer Brown and Stanley Sadie. Performance Practice: Music After 1600 [New York: W. W. Norton, 1990], 240.
40 41 39

Ibid. Ibid., 239.

91 performance practice during the Classical era. To play the Classical piece better, performance practice and specifics of the instrument can be considered. The editorial method is categorized and explained below: 1. Fingering Important elements I took into consideration when deciding fingerings were the sound and how to easily phrase each melody. The fingering should not disturb the color of the sound and phrasing. Specifically, in the cantabile passage, the same tone color involving shifting up and down the same string is appropriate for the phrasing. 42 Other elements such as intonation, rhythmic design, speed, and dynamics are also considered in planning fingering. During fast sections, I chose to change strings to avoid difficult shifts. There are passages that need extensions rather than shifts for a clean execution. In doing this, two successive shifts were avoided. 43 I tried not to break a fast pattern of two or three conjoined notes with a shift as well as avoid excessive glissandi as this piece is a refined, Classical piece. 44 When there are two notes a perfect fifth apart on different strings, I used the same finger (i. e. 1-1 or 2-2) regardless of the slur. When one finger is used for these fifths, it is difficult to produce an expressive tone on each note, so it should be rendered with care. 45 2. Bowing

42

Maurice Eisenberg. Cello Playing of Today. [London: Lowe & Brydone, 1957], 81.

43

Paul Bazelaire. Scientific Instruction in the Violoncello. Translated by Mme. Henriette de Constant. [Paris: Durand, 1960], 57 58.
44

Ibid. Eisenberg, 80.

45

92 The important elements that are taken into consideration to make bowing were the sound and phrasing similar to the fingering. Long cantabile passages need slurred bowing without frequent bow changes and fast passages need effective short and separate bowings. Good planning is needed in order to make the right bowing choices. Accented notes should use a down-bow at the lower part of the stroke and up-beat notes are easier when played with up-bows. Notes on the metric accents such as the first and third quarter of 4/4 and the first and fourth eighth of 6/8 are played with a down-bow, especially during the fast section because it is more reliable and rhythmical. Various sections of the bow should be used to enhance the character of the music. The tip should be used for lightness and grace and the lower portion for the heavier sound. 46 The cellist should always try to match the quality of his bowing to the style of the composition. Classical-era commentaries generally advise performers to produce sounds that are soft and sweet, and to avoid excessive loudness. 47 In addition to the soft refined sound, messa di voce was a unique characteristic of performance practice from the Classical period. 48 Messa di voce means a note or bow stroke with a crescendo-decrescendo. Leopold Mozart described it in A Treatise on the Fundamental Principle of Violin Playing (1756). Every tone, even the strongest attack, has a small, even if barely audible, softness at the beginning of the stroke; for it would otherwise be no tone but only an unpleasant and unintelligible noise. This same softness must be heard also at the
46

Barra Donald. The Dynamic Performance. [Englewood Cliffs: Prentice-Hall, 1983], 163. Dennis Shrock. Performance Practices in the Classical Era. [Chicago: GIA Publications, 2011], 11 12.
48 47

Ibid., 155.

93 end of each stroke. Begin the down stroke or up stroke with a pleasant softness; increase the tone by means of an imperceptible increase of pressure; let the greatest volume of tone occur in the middle of the bow, after which, moderate it by degrees by relaxing the pressure of the bow until at the end of the bow the tone dies completely away. 49 At the time of Beethovens Cello Sonata Op. 5, No. 1 in 1796, the advanced Tourte model bow was not widely used. Old model bows co-existed with the new Tourte model. With the old fashioned bow, it may have been easier to play messa di voce style instead of legato style. However, Beethoven thought legato was very important. Carl Czerny (1791-1857), one of Beethovens students and a great pianist wrote in his letter: Beethoven.insisted on legato technique, which was one of the unforgettable features of his playing; at that time (early 19th century) all other pianists considered that kind of legato unattainable, since the hammered, detached staccato technique of Mozarts time was still fashionable. 50 Beethovens performance of the Adagio and Legato was so great and praised. He emphasized the importance of legato. Thus, with our modern instrument, we should try to make more legato sound than messa di voce style in playing Beethovens piece. The slow lyrical passages of his cello sonata must be played with fully sustained sound and with slurred bowing. The bow must stay on the string when the stroke is changed and the passage should be played without unnecessary accents. In the fast section, the player must distinguish where to use dtach bowing or spiccato. Dtach bowing technique means detached bowing and this bowing is normally used for short separate bowings. Dtach bowing has purpose, decision, energy, strength, Leopold Mozart. A Treatise on the Fundamental Principles of Violin Playing (1756).Translated by Editha Knocker. 2nd Edition. [Oxford: Oxford University Press, 1951], 97.
50 49

Shrock, 182.

94 and punctuality. 51 Spiccato bowing is also used in the fast section and this technique is more fluent and lighter than dtach. Spiccato bowing has no constant accentuation and it is easier when played close to the fingerboard with light sound. 52 3. Tempo and Meter There was a growing desire throughout the Classical period to determine tempos with a reliable degree of specificity. Attempts were made before the invention of the metronome in 1815 by Johann Nepomuk Mlzel (1772-1838) to find a fixed rate of speed. Johann Joachim Quantz (1697-1773) suggested a means to designate tempos in his book, On Playing the Flute (1752). The means which I consider most useful as a guide for tempo is the more convenient because of the ease in which it is obtained, since everyone always has it upon himself. It is the pulse beat at the hand of a healthy person. 1. Allegro assai (including, Allegro di molto, presto, etc.): the time of a pulse beat for each minim (half note). 2. Allegretto (including, Allegro ma non tanto, non troppo, non presto, moderato, etc): a pulse beat for each crotchet (quarter note). 3. Adagio cantabile (including, Cantabile, Arioso, Larghetto, Soave, Dolce, poco Andante, Affetuoso, Pomposo, Maestoso, adagio Spiritoso, etc.): a pulse beat for each quaver (eighth note). 4. Adagio Assai (including, Adagio pesante, Lento, Largo assai, Maesto, Grave, etc.): two pulse beats for each quaver (eighth note). 53 Allegro assai is the fastest of these four main categories of tempi. Allegretto is twice as slow as Allegro assai. Adagio cantabile is twice as slow as Allegro and Adagio assai is twice as slow as Adagio cantabile. 54

51 52 53

Bazelaire, 32. Eisenberg, 45.

Johann Joachim Quantz. On Playing the Flute (1752). Translated by Edward R. Reilly. [Boston: Northeastern University Press, 2001], 393 395.
54

Ibid., 395.

95 Since Quantz refers to the human pulse, we can assume that approximately eighty pulse beats per minute was the standard. Therefore, metronome markings for these tempos can be established as follow: Allegro assai: a half note = 80, Allegretto: a quarter note = 80, Adagio cantabile: an eighth note = 80, and Adagio assai: a sixteenth note = 80. 55 Besides, there were terms treated differently during the Classical era. Vivace, for instance, is usually interpreted as faster than Allegro today, but during the Classical era, it was comparable to Allegro or slower. 56 Leopold Mozart described tempo terminology in his book and I quote here specific tempi terminology of Leopold Mozart which is used in Beethovens cello sonata Op. 5, No. 1. Vivace means lively and it is between quick and slow, and musical composition before which these words are placed must show us the same in various aspects. Sostenuto means drawn out, or rather held back, and the melody not exaggerated. We must therefore in such cases use a serious, long, and sustained bowing, and keep the melody flowing smoothly. Allegro indicates cheerful, though not too hurried a tempo and Adagio means slow. 57 If we consider that Leopard Mozarts writing is common practice of that time, the second movement of Beethovens cello sonata op. 5, No.1, Allegro vivace should not be faster than the first movement, Allegro. Adagio sostenuto in the Classical period had same meaning as the modern term, making the introduction of Beethovens cello sonata Op. 5, No. 1 slow with sustained quality. In the Classical era, alla breve time also had different meaning. According to Quantz:

55 56 57

Ibid., 400 402. Shrock, 94. Mozart, 50.

96 In alla breve time, whether the tempo is fast or slow, it is always indicated with a large C with a line through it, all the notes in it are taken twice as fast as in common time. 58 There is an alla breve section in the Allegro movement of Beethovens cello sonata Op. 5, No. 1. Between measures 369-385, an alla breve time is indicated and Beethoven marked Presto for this section, allowing this section to be faster than the common tempo. For the composition to be performed in a fast tempo, called the allegro style, there had to be a degree of separation between notes in the Classical style. 59 Thus, the notes in Allegro and Allegro vivace movement of Beethovens cello sonata Op. 5, No. 1 are played separately when there is no slur. Leopold Mozart suggested that in the slow movements, there are certain passages where the dot must be held rather longer than the notation suggested in order to avoid sluggish performance. In such cases dotted notes must held somewhat longer, but the time taken up by the extended value must be taken from the note standing after the dot. 60 It is easy to speed through dotted notes, making it more appropriate to play the subsequent note a bit late. 61 Therefore, the dotted notes in the Adagio sostenuto movement of Beethovens cello sonata Op. 5, No. 1 can be held long enough to sound more classical and not hurried. 4. Vibrato and Articulation

58 59 60 61

Quantz, 395. Shrock, 166. Mozart, 41. Ibid., 130.

97 Vibrato was called the close shake or tremolo by musicians of the Classical period. Leopold Mozart compared the vibrato to the trembling sound of a struck string or bell and suggested that a closing note or any other sustained note may be decorated with it. 62 A slower, wider vibrato is often effective in broad legato passages, while a faster, narrow vibrato provides a more brilliant, energetic tone. The player must try to alter the speed and width of the vibrato to match the expressive implication of the music. 63 Good vibrato also requires continuity in changing fingers, changing strings, and changing position. 64 The fast movements as well as the slow movement of Beethovens cello sonata Op. 5, No. 1 can be played with various types of vibrato to create a beautiful melody and avoid dry sounds. The articulation in the Beethovens cello sonata Op. 5, No. 1 must be clearly rendered as the composer indicated and match the Classical style. The effect of the slur and separated notes must be shown, and the difference between the staccato and normal, separated notes must be heard. Good articulation and vibrato can give the music the essence of elegance, clarity, and lightness. 5. Dynamics and Accentuation As musical instruments have been developed, the general range of volume increased. Now we know there was no endpin of the cello during the Classical period and the piano at that time was also different from the modern instrument. The title of Beethovens cello sonata Op. 5, on the first edition was Deux Grandes Sonates pour le
62 63 64

Ibid., 203 204. Donald, 163. Bazelaire, 22 23.

98 Clavecin ou PianoForte avec un Violoncelle Oblig. Beethoven indicated that the piano part can be played by a clavecin (harpsichord) 65 or a pianoforte. We can aware of the style and instruments of the Classical period and play the piece with consideration. There are various kinds of dynamic in this piece from pianissimo to fortissimo. There are also diverse expressions of accents. Beethoven wrote sforzandos, fortepianos, sforzandissimos, sforzandopianos and accent marks on the notes (>). The player must try to distinguish these markings with regard to the Classical style. These marked accents are expressive accents, independent of the metric accents which naturally occur every measure as in the first and fourth eighth note of 6/8 meter. 66 The accents, either printed or implied, must give the music life.

The First Movement Various styles of bowing and vibrato are rendered in different sections in Beethovens Sonata for Cello and Piano Op. 5, No. 1. The first Introduction is a slow Adagio-sostenuto where soft bowing and warm vibrato is suitable. At the beginning, however, very little vibrato could be used for the quiet and mysterious effect. The first motive starts with 32nd note that should be played shortly with the middle part of the bow. Up-bow seems more suitable for this note as it is followed by longer, slurred notes. This motive finishes with a light and short eighth note, which should not be accented on the bow. The first two motives are played exactly together with the piano. The harpsichord was widely used in Renaissance and Baroque music. During the late 18th century it gradually disappeared from the musical scene with the rise of the fortepiano. But in the 20th century it was resurrected and used in historical performances of older music and in new compositions.
66 65

Ibid., 46.

99 Both players can watch each other for accurate performance. The next part of the Adagio sostenuto is mostly lyrical. In order to play this passage lyrically, dynamics must be utilized. Although there are sudden changes such as sforzando or subito pianissimo, there are also long crescendos and decrescendos. The weight of the right arm can be used to execute these long dynamic changes. These long and slow dynamic changes should not be sudden as this section is slow and sentimental. In measures 7-8, the cello is very prominent with lyrically slurred melody. Extra care is needed when the direction of the bow changes because the melody moves by step and the phrase ends very lyrically in measure 10. In measures 11-12, staccatos are played. These should not be too strong and should grow one by one because of the crescendo at the beginning of measure 11. This idea develops until the sforzando appears in the measure 13. Before this sforzando, a small breath can be taken to create a clear articulation. This sforzando can be rendered with a down-bow and can be gently and tenderly attacked. The next measures subito pianissimo can be played without vibrato to intensify the quiet sound. The staccatos and sforzandos in measure 17 are stronger than the sforzando in measure 13. These three sforzandos are developmental and should be played with intensive strokes. Therefore, the beginning of the measure can be played with an up-bow so a down-bow can be used for the sforzandos. The sforzandos in measure 18 are also very important as they are long and lyrical. The pianissimo in measures 19-20 can be played with warm vibrato. There is also a long crescendo and decrescendo on the syncopated notes in the next measure. The rhythm of measure 22 must be exact as there is a sixteenth rest instead of a dot. This makes the

100 phrase fresh and special. The following staccatos are not very strong and the bow stroke should be light and soft. The quarter note sforzando of measure 25 should sound warm and gentle, not square. The following staccatos have thirty-second rests in between each note, which are playful. The fortissimo of measure 27 is very sudden. The bow stroke is not very long but very intense and strong. This should be played at the low part of the bow. The three eighth notes of measure 28 can be played with all down bows as these notes are still strong and eventually moves down to the important low C in the next measure. The dotted half low C of measure 29 is very loud, so the bow can be changed once by using a down and up-bow. The chord in measure 30 is played as a smooth arpeggio. The double dotted eighth notes and thirty-second notes of measure 31 can be played with one bow because there is not enough time to change the bow for the thirty-second notes. The last phrase of the introduction can be played at the upper part of the bow to create a soft and tender character. No ritardando is needed for this last phrase. A suggested metronome marking for the Adagio sostento is = ca. 66-70. A breath should be taken between the Adagio sostenuto and the Allegro. While the piano part has the main theme at the beginning of the Allegro, the cello repeates the interval of a sixth, C-A, very lightly but not too shortly. Every note is played with separate bow for this repeated passage to create the bouncy character. The cello should not use too much bow for these short strokes that are off the string. After the three measures of the repetitive passage, the phrase continues going up by step until the B-flat in measure 39, where it sounds like a question. The bow stroke of

101 this phrase should be smooth and light. The cello plays the main theme in measure 49. This should not be too strong, but instead, should have a full sound to present the important main theme. Bright and lively vibrato can be played on the A string at the beginning of the theme. The contrasting idea of the main theme at measure 51 is light and playful. The staccatos of this motive can be played with a little accent at the middle of the bow. The sforzandos of measures 54 and 55 need warm vibrato and smooth accents of the bow. The fortepianos of measure 58, 60, and 62 are not square and should have a lot of vibrato at the beginning of the notes. For an easier execution of the vibrato in these octaves, a thumb and the third finger can be used. The accents of the beginning of these notes can be rendered by vibrato as well as a gentle bow stroke to create the warm sound. The contrast of the forte and piano should be clearly heard. In measures 64-65, short breaths can be taken between the first and second beats. The triplets in measures 6970 should be very loud and quick. This should be played at the low part of the bow. The triplet in measure 70 is even louder and it is played one octave higher. The following quarters are strong and short. The second theme beginning in measure 72 is sentimental and lyrical, which requires a soft and poignant sound. A relaxed feeling is needed for the character of the second theme. The sforzandos of the second theme are not very strong, but have an operatic singing character. Fast and brilliant vibrato is needed for these notes. The first and third staccato quarter notes of the contrasting idea from the second theme in measures 75 and 79 can be played with up-bows for charming and operatic effect. A graceful phrase is played between measures 81-84. Slurs and staccatos of this

102 phrase can be played gently with the middle part of the bow because of the dolce marking. Between measures 85-92, a modified repetition of the second theme is played and the same character of the second theme can be applied. In measure 93, a long C major passage starts and both instruments play very playfully and brightly. Although this passage should be played with a light stroke because of its piano dynamic, the left hand should have a strong articulation for the very playful descending scales. Long notes on C are played in measures 98-100, and the bow should be saved because the notes last over two measures. The dynamic difference between the forte and fortissimo of the octaves in measures 102-103 should be present and they must be accompanied by short accents on each note. The sforzandos of the half notes in measures 105, 107 and 108 should sound strong yet gentle. Big and warm arm vibrato can be played for these notes. The following sixteenth notes in measures 106-107 are short and playful. Measure 113 can have a decrescendo because the piano part has the decrescendo and the whole passage projects a soft and sweet melody at measure 116. Another gentle passage begins in measure 116. The slurred staccatos in measure 116 should be soft and tender along with the sforzandos of following three measures being bright and gentle. The sforzando notes can be played on the A string to produce a bright tone color. Staccato eighth notes in measures 121122 are playful yet must remain soft as they are accompaniment to the piano. The left hands articulation of the eighth-notes in measures 123-124 is very important due to the long slurs. The pianissimo in measure 127 should be continued through measure 131 where the crescendo begins. Long double stop notes between measures 130-133 can be played

103 on the A and D strings, because it is much more efficient compared to using the D and G strings. The left hand can move to the E-flat of the half position at the beginning of measure 129. The sforzando in measure 133 is energetic and short. The bow stroke can be attacked with an accent. There are eight more sforzandos following this measure, which must also be attacked in this same character. The sforzandos in measures 137 and 138, however, must be performed with an up-bow because they are followed by longer notes. The last sforzando in measure 141 is smoother than the previous sforzandos because it is on a long note. Following the long note in measure 141, a descending scale in eighth-notes is played which must not be rushed. The bow stroke of the long note in measure 141 should be saved in order to more easily execute the following staccato eighth notes. The sforzandos in measures 147 and 149 are rather playful and not very strong because of the presence of slurs. A small breath can be taken before these sforzandos to allow for a clean sound. A gentle crescendo is played from measure 151 to 153 and again from 155 to 157. The bow should be fully lifted for the eighth rests between the notes in this passage. The pressure of the bow strokes increase for the crescendo and should be gentle in order to prepare the whole notes with sforzandissimos in measures 158-160. These measures complete the exposition with the last whole note in measure 160 containing a fermata and a piano dynamic. Therefore this final note, E of the second ending, should be long enough to resolve and change the mood. The beginning of the development contains the main theme in a new key that is softly played by the piano. The cello accompanies the main theme in measure 164 with

104 legato phrasing. A canon begins in measure 171 and the bow strokes should be intense and clear to create a contrapuntal effect. The sound of this passage in measures 171-188 should be full and sustained for the powerful imitation. The cello arpeggiates an E-flat major seventh chord in measure 189 and a C major seventh chord in measure 191. These broken eighth-note chords are hard to play because of the frequent use of fourth finger. This requires strong articulation in the left hand. Short and very energetic bow strokes are helpful for these passages. A long, gentle fortissimo whole note is played in measure 193 with wide and warm vibrato. The following subito piano should be clean and calm. In measure 205, the long D-flat accompanying the D major chords in the piano requires a special and different tone color after the long, intense minor mode passage. The down-bow should be saved until the end of the note because the slurred D-flat is over four measures in length. A small crescendo-decrescendo motive is played for four times beginning in measure 212. Four short crescendo-decrescendo motives are played each time, but the whole passage is in a larger crescendo due to the rising pitch. The decrescendo after this passage resolves to the pianissimo of measure 217. The calando note, a long C, in measure 218 must use a saved bow for three measures. The quarter note F after this long C in measure 221 can be played either on D or G string, but should be played without a glissando to reduce the noise of the string crossing. Excitement grows from the calm mood in measure 224. Staccatos are short and energetic, and must be fully lifted for the eighth rests in measures 226 and 227. The main theme melody beginning in measure 232 can be emphasized with more weighted bow strokes. The passage between measures 236-246 has a lyrical singing

105 character. This passage requires soft bow strokes and tender vibrato. Specifically, the syncopated notes in measure 243-244 are not accented but should be legato. The sforzandos in this passage must not be too square but sweet and warm. In measures 247 and 249, another difficult passage for left hand is played, which is similar to the passage in measures 189 and 191. Articulation of the left hand is very important with a strong fourth finger. The return of this passage must use slurs that require stronger articulation for the clean treatment of the melody. A modulated second theme begins in measure 253. Fast vibrato along with fast and soft bow strokes is suitable for this passage in order to create a sentimental and poignant sound. The dynamic of the whole passage is piano, which makes the sforzandos of this passage weaker. In measures 262-264, the passage is playful but without accented staccatos. The presence of dolce supports the gentle and playfulness of this passage. Descending F major scales are found in the measure 275 and 277. The articulation of the left hand is important to create a bright and playful feeling. In order to change the color and mood of the two measure whole notes on F in measure 279-282, no vibrato or very little vibrato can be used, also for the emphasis of the forte of the next two measures. Ascending scales are played with energetic bow strokes in measures 287-288. The bow strokes of the long C in measures 286-287 should be saved because it is difficult to play the following sixteenth notes in the upper part of the bow. As in measure 116 of the exposition, smooth slur staccatos are played in measure 297 and they are followed by three gentle sforzandos. To maintain the tone color, the entire passage between measures 297-301 can be played on the A string because frequent changes of the strings can disturb the phrasing. Bouncy staccatos are played in

106 measures 302-303, which are connected to a slurred eighth notes passage in measures 304-305. These slurred eighth notes are very legato and should sing. Between

measures 314-321, eight sforzandos are played similarly to measures 133-141 in the exposition. These sforzandos are very strong and short. The long C in measure 322 should be played with a saved bow in order to make the following staccato eighth notes easier. The passage in measures 328-331 has a singing and playful character. A gentle crescendo is used in measures 332-333 and 336-337 for to set up the fortissimo resolution in measures 339-341. The performer should maintain a steady tempo during the passage of measures 332-338 as it is easy to increase speed. The subito piano in measure 336 should be clearly heard to set up the large, forthcoming crescendo. The three whole notes in measures 339, 340 and 341 begin the retransition before the coda and are played with the weight in the right arm. The last note of these three whole notes should be more emphasized because in the recapitulation, this note is unlike the note of the retransition in measure 160 of the exposition. The quarter notes following these three whole notes can be played with all down bows as they are strong and due to the quarter rests, there is enough time to start at the frog each time. After the fermata on C in measure 347, a short contrapuntal passage is played between measures 347-353. The clear articulation of both the left hand and the bow strokes are helpful to make a clear imitation. Staccato quarters between measures 354-357 are easy to be slow down, so the player should keep the tempo carefully. A slow and soft Adagio is played in measure 362 for six measures. Warm vibrato and smooth bow strokes are suitable for this passage that has dynamic of piano. The tempo of the Introduction can be used as this passage is a reflection of what was

107 previously heard. However, a small amount of rubato can make this passage more charming. The sudden tempo change of the Presto starts in measure 368. Triplet eighth notes in both the piano and cello are heavily articulated and energetic. A chromatic scale in measure 383 is very playful and excited, and connected to a brilliant trill on G. The two grace notes after this trill from F to G are played exactly with the piano part, requiring communications between both players to ensure their accurate execution. The Tempo primo at measure 386 is played in Allegro and the character is very confident. To create the bright sound, fast bow strokes are helpful. Measure 392 can be played on the A string, with an open A. The last five measures of the first movement are energetic but not square. This passage must be performed with gentle but confident bow strokes. A suggested metronome marking for the Allegro is = ca. 140-150. The Second Movement The main theme of the second movement is elegant and light. The short eighth note triplet motive from the basic idea of the main theme is played frequently throughout the movement. These staccato eighth note triplets are more bouncy if they are played far off the strings. At the beginning of the Rondo Allegro vivace, the main theme is found in the cello. This theme is rhythmical and playful containing lyrical motives that require the bow strokes to express both the excitement and the tranquility. The liveliness beginning in measures 1-2 should be played with short and with a small amount of accented bow. The lyrical section in measures 3-4 can be played with tender bow strokes. The staccato notes in measures 5-7 should not rush and use the middle of the bow. A small crescendo-decrescendo in measures 9-10 is played softly. The

108 eighth rests at the beginning of measures 11 and 13 should be exact as it is hard to count these rests. Starting the grace note at the middle of the bow will help to execute this difficult passage. Sixteenth notes in measures 15-17 should sound very confident and this fast passage can be performed with dtach bowing at the lower to middle part of the bow. The staccato eighth notes in measures 20-23 are rhythmical and have equal weight. A small amount of shaping can be applied to these four measures by using a small crescendo and decrescendo with bow strokes that are off the strings. The sforzandos in measures 25 and 29 are not very strong but can be effective with small accents and fast vibrato. The slurred triplets in measures 26, 27, and 30 can be played with fast bow strokes to make the passage rhythmic. However, the slurred triplets in measure 35, 36, and 37 can be played with slow bow strokes to make a long crescendo. This crescendo of measures 35 and 36 is important due to the register of the melody and its ascension. The sforzandos in measures 40-41 are very energetic and excited. These are played with strong accents with fast bow strokes, which allow for an easier performance of this rhythmical passage. The phrases in measures 43-45 and 46-48 are question and answer phrases. The character of question and answer phrases is expressed with bright vibrato and resolving sound. The sixteenth notes in measures 50-51 are confident and energetic. The main theme melody is played delicately and lightly by the piano in the high register beginning in measure 60. The elegant and light main theme is played in the home key by the cello from

109 measures 66-75. Following are four sforzandos that are found in measures 79-80. They are gently accented as these sforzandos are part of the slurs. But the sforzandos in measures 82-83 are decisive and energetic, and can be played with fast and short bow strokes. The pizzicatos in the measure 85-88 and 93-96 should be played louder than its soft dynamic in order to be heard against the piano part due to the already soft sound of pizzicato compared to arco. The melodies of these phrases are played by the piano while the cello makes a percussive effect with the stronger pizzicatos. The melody of these phrases in measures 85-88 and 93-96 is played in turns by the cello in measures 89-92 and 97-100. The entire melody can be played on the A string to maintain a consistent tone color. The pizzicato passage in measures 101-108 is played more loudly because its register is lower than in previous sections, making it difficult to be heard. The indication col arco is the same as arco, which means play again with the bow. The col arco phrase beginning in measure 108 is played with strong bow strokes and bright vibrato due to the sforzandos in the melody. The B-flat dotted half note in measure 113 can be played with a wider and excited vibrato to create bright tone color. It is easy to make a crescendo on this note because of the fortepiano found in the next measure. Thus the player needs to be careful not to make a crescendo on this note. The fortepianos in measures 117 and 123 are gently accented. Warm and grand accents are played at the low part of the bow for these fortepianos. The piano dynamic starts quickly after these gentle forte accents and are

110 continued until the end of the phrase. The cello part remains quiet and relaxed on these notes because the passage is played peacefully in a major key after a long section using minor tonality. These long double stop notes between measures 117-129 do not require much vibrato as the melody is in the piano. The main theme in measure 141 is again elegant and bouncy except in this passage, slurred sixteenth notes are played for two measures in the consequent phrase in measures 145-146. This passage is difficult because the left hand position is shifting quickly and this passage has long slurs. Strong pressure from the fingers is needed for the clean articulation. Sixteenth note passages with separate bows always have a confident characteristic in this movement which appears again in measures 151-154. This fortissimo passage can be played with the detached bowing. The same motive of measure 155 and 157 can be played on the A string with an open A for the bright sound. After this motive, a long staccato passage is played very playfully in measures 158-167. These staccatos are graceful and lively, which should be played at the middle part of the bow. Short, but sweet vibrato can be used with these elegant staccato bow strokes. From the measure 167 to 197, similar passages to the measures 24 48 are found. An arpeggiated F major triad is played in measures 199-200 and the notes of this broken chord have difficult string crossings that should be interpreted with care. Short bow strokes and short accents on every first note of the eighth notes can help cross the strings. The repetitive A-flat sixteenth notes in the measures 203 and 204 should be on the string and have no bounce. The fortepianos of measures 205, 209 and 213, similar to measure 117, can have

111 broad accents and the entire passage can be performed without much vibrato to create its calm and relaxed character. Staccato triplets in measures 219-224 are very light, but have an agitated character due to the rising pitch register. Eighth notes in measures 225-228 have a long crescendo to the high C in measure 229. Bright and clean sound is appropriate for this passage because every triplet often leaps to the higher register. Slurred eighth notes in measures 233-234 can be played with the middle part of the bow for better control. The main theme in measure 235 is very soft and played elegantly. The grand octave passage from measures 239-245 can be played with small amount of the bow to prevent noise. These octaves can be played on the G and D strings between measures 241-246, due to the difficulty of the high position on the C and G strings. This passage is played loudly with a long crescendo. The rhythmical passage of measures 247-267 should not rush and maintain the pulse of a dotted quarter every time. A big rallentando and ritardando are played in measures 269-280 before the Adagio at measure 281. The ritardando in measures 278-280 is slower than the rallentando in measures 269-277. These rallentando and ritardando can be processed slowly and smoothly. The Adagio in measures 281-282 has a questioning character. The last note of the Adagio can be played slightly shorter with less weight than the previous note. The answer comes at the Tempo primo in measure 283 where the fragments of the main theme are found in the piano and cello. Short staccatos are utilized in this section and the last two chords of the piece are not very short and must ring. A suggested metronome marking for the Rondo Allegro vivace is . = ca. 110-120.

112 CHAPTER V CONCLUSION Ludwig van Beethovens cello sonata in F major Op. 5, No. 1 is the first true cello and piano duo sonata. Beethoven wrote this piece during his early Viennese period in 1796 and showed his emerging maturity by innovative instrumentation and technical virtuosity. This piece is, even now, one of the most prominent pieces in the cello music repertoire. In comparison with other Classical composers such as Mozart and Haydn, Beethoven gave the cello a more prominent role. He was the only composer who wrote cello sonatas among the First Viennese School composers. Beethovens cello sonatas also inspired the Romantic periods composers to compose a great deal of cello music. This piece has a slow introduction and two fast movements. The slow introduction, Adagio sostenuto, is extensive and expressive. It has solemnity, seriousness, a lyrical mood, and sense of anticipation. It also has a short piano cadenza that shows Beethovens improvisatory style. The first movement, Allegro, is in the sonata form and has an exposition, development, and recapitulation. The exposition has a simple and lively main theme, non-modulating transition, and an extensive secondary theme zone. The secondary theme zone of the piece has rich modulations and repetitions. The melodies of the secondary theme zone are lyrical and sweet with some of them being lively and rhythmical. The development has a pre-core that uses the basic idea of the main theme from the exposition and a core that is dramatic, restless, and has dynamic forward motion. The recapitulation has a return of the main theme with more embellishments, a modulating transition, and a modified secondary theme zone that remains in F major. The coda of the

113 first movement is extensive and has two distinct sections, Adagio and Presto. The coda dramatically finishes the movement with a PAC in F major. The second movement, Allegro vivace, is in sonata-rondo form. It is colorful and sparkling in character. It has seven sections (ABACABA) where the refrain and the couplet are played in turns. The main theme of this movement is lively and rhythmical, and the couplet themes are various in characters, which are sometimes beautiful and gentle, but at other times dramatic and wild. The coda of this movement has a playful coda theme and a short Adagio section. It finishes furiously. The performance technique of this piece is varied. Modern cello techniques were mostly used for each movement. Most notably, the position of the bow, the clean shifts of the left hand, the weight control of the right arm, and the character of the vibrato are important in this piece because of the wide range of dynamics and various timbres. Most of all, diverse expressions of each passage and the consideration of Classical style are important elements in a successful performance. Beethoven left a momentous achievement and influence with his cello sonata in F major Op. 5, No. 1. This piece has been played in many concerts and received attention by many musicians and music lovers. However, I would hope that further research regarding this sonata will continue and maintain its great reputation as well as more performances to share the beauty and charm of this piece to a wider audience.

114 APPENDIX. AUTOGRAPH SKETCHES AND TRANSCRIPTION

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