Music Essay – Beethoven’s Sonata Pathetique
Q. Discuss form and structure, harmony and tonality in Beethoven’s Sonata Pathetique 1 st
movement. Relate your answer to other relevant works.
In the piano sonata pathetique in C minor, Beethoven creates a controversial piece for the audience
of its era. He creates a virtuosic sound in which he breaks the typical rules of the classical era.
Beethoven does this through harmony, tonality as well as form and structure.
The key of this piece is C minor. This is a key often chosen by Beethoven for several of his other
compositions such as funeral marches. The minor tonality conveys a sombre and melancholy tone
which is further reinforced by the ‘grave’ tempo in the 10-bar introduction as well as the dramatic
chords. The expressive nature of the romantic era is emphasised by the several passing modulations
throughout the piece. Beethoven often modulates to distant and unrelated keys to create intrigue.
For example, the transition section of the exposition modulates to E flat minor, instead of E flat
major which is the relative major of the tonic key. This creates tonal ambiguity.
Another of Beethoven’s sonatas is sonata no. 32 which is also in C minor. Beethoven employs similar
techniques we see in sonata pathetique. Additionally, sonata no.32 begins with a progression of
minor chords, just as it’s done in sonata pathetique. We hear a number of modulations throughout
the latter stages of sonata no.32, adding interest to the piece.
The harmony of this movement is very adventurous, but remains mainly diatonic. Beethoven heavily
uses accented diminished 7th chords. This creates dissonance which is also heard through the rising
and falling chromatic phrases. The occasional use of an augmented 6 th also highlights the expanding
range of the piano. The progression of a circle of 5 ths is also used in bars 244 to bar 249 which
emphasises the strong sense of the chord that is being played. Beethoven’s piano sonata no.23 in F
minor also displays a masterful construction of harmony.
The form and structure of this piece is in sonata form, consisting of an exposition, development and
recapitulation. Beethoven has a 10-bar intro at a ‘grave’ tempo. Beethoven’s piano sonata No.29 in B
flat major begins with a similar introduction at a very slow tempo in its relative minor. Despite the
sonata being in a different key and tonality, they have some similarities referring to form and
structure.
The exposition of sonata pathetique begins in C minor then modulates to E flat minor in the 2 nd
subject rather than the expected E flat major. In the development, we hear the familiar grave
introduction again, only this time we hear it in G minor. The recapitulation depicts a return of the
tonic key, leading to the 2nd subject being in the subdominant, F minor. Beethoven builds an
impactful, grand and powerful ending coda, using fortissimo, detached chords, ending with a perfect
cadence.
Q. Discuss form and structure, harmony and tonality in Beethoven’s Sonata Pathetique 1 st
movement. Relate your answer to other relevant works.
In the piano sonata pathetique in C minor, Beethoven creates a controversial piece for the audience
of its era. He creates a virtuosic sound in which he breaks the typical rules of the classical era.
Beethoven does this through harmony, tonality as well as form and structure.
The key of this piece is C minor. This is a key often chosen by Beethoven for several of his other
compositions such as funeral marches. The minor tonality conveys a sombre and melancholy tone
which is further reinforced by the ‘grave’ tempo in the 10-bar introduction as well as the dramatic
chords. The expressive nature of the romantic era is emphasised by the several passing modulations
throughout the piece. Beethoven often modulates to distant and unrelated keys to create intrigue.
For example, the transition section of the exposition modulates to E flat minor, instead of E flat
major which is the relative major of the tonic key. This creates tonal ambiguity.
Another of Beethoven’s sonatas is sonata no. 32 which is also in C minor. Beethoven employs similar
techniques we see in sonata pathetique. Additionally, sonata no.32 begins with a progression of
minor chords, just as it’s done in sonata pathetique. We hear a number of modulations throughout
the latter stages of sonata no.32, adding interest to the piece.
The harmony of this movement is very adventurous, but remains mainly diatonic. Beethoven heavily
uses accented diminished 7th chords. This creates dissonance which is also heard through the rising
and falling chromatic phrases. The occasional use of an augmented 6 th also highlights the expanding
range of the piano. The progression of a circle of 5 ths is also used in bars 244 to bar 249 which
emphasises the strong sense of the chord that is being played. Beethoven’s piano sonata no.23 in F
minor also displays a masterful construction of harmony.
The form and structure of this piece is in sonata form, consisting of an exposition, development and
recapitulation. Beethoven has a 10-bar intro at a ‘grave’ tempo. Beethoven’s piano sonata No.29 in B
flat major begins with a similar introduction at a very slow tempo in its relative minor. Despite the
sonata being in a different key and tonality, they have some similarities referring to form and
structure.
The exposition of sonata pathetique begins in C minor then modulates to E flat minor in the 2 nd
subject rather than the expected E flat major. In the development, we hear the familiar grave
introduction again, only this time we hear it in G minor. The recapitulation depicts a return of the
tonic key, leading to the 2nd subject being in the subdominant, F minor. Beethoven builds an
impactful, grand and powerful ending coda, using fortissimo, detached chords, ending with a perfect
cadence.
