Beethoven Sonata 11 Op 22 Analysis Essay

Continuing visual breakdowns of Beethoven's piano sonatas...

Piano Sonata #11 In Bb, Op.22 (1800)

- 1. Allegro Con Brio (starting from 0:04)
- 2. Adagio Con Molta Espressione (starting from 7:35)
- 3. Minuetto (starting from 15:33)
- 4. Rondo: Allegretto (starting from 18:44)

The audio for this analysis was generated from a midi file originally sequenced by Bunji Hisamori in 1999.  I took that file and "spread" the notes so that listening to this on headphones will give a very distinct spacial distinction between the low voices and the high voices.  In other words, it sounds like you're sitting in front of the piano, with low notes on the right and higher notes going towards the right.  I'm calling this "Beethoven 360".  

CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

Movement I. Allegro Con Brio (Sonata form)

Exposition
1st Theme (I) (GREEN)
Transition (BLUE)
2nd Theme (V) / Cadence (BROWN)
Exposition Repeat
1st Theme (I) (LT GREEN)
Transition (LT BLUE)
2nd Theme (V) / Cadence (LT BROWN)
Development (VIOLET)
Recapitulation
1st Theme (I) GREEN)
Transition (BLUE)
2nd Theme (I) / Cadence (BROWN)

Movement II. - Adagio Con Molta Espressione

Exposition
1st Theme (I) (GREEN)
Transition (BLUE)
2nd Theme (V) (MAROON)
Development (DARK BLUE)
Recapitulation
1st Theme (I) (GREEN)
Transition (BLUE)
2nd Theme (I) (MAROON)

Movement III. - Minuetto

Part A
1st Theme (GREEN)
2nd Theme (BLUE)
1st Theme Var. (GREEN 2)
2nd Theme (BLUE)
1st Theme Var. (GREEN 2)
Trio B (vi) (BROWN)
Part A Repeat
1st Theme (GREEN)
2nd Theme (BLUE)
1st Theme Var. (GREEN 2)

Movement IV. - Rondo: Allegretto

1st Theme (I) (BLUE)
2nd Theme Group (V) (MAROON)
1st Theme (BLUE)
3rd Theme (i) (GREEN)
1st Theme (BLUE)
2nd Theme Group (I) (MAROON)
1st Theme (BLUE)
Coda (PURPLE)

(Assisted by Donald Tovey's in depth analysis)

Beethoven'sPiano Sonata No. 11 in B-flat major, Op. 22, was composed in 1800, and published two years later. Beethoven regarded it as the best of his early sonatas, though some of its companions in the cycle have been at least as popular with the public.[2]

Prominent musicologist Donald Francis Tovey has called this work the crowning achievement and culmination of Beethoven's early "grand" piano sonatas.[3] Subsequent sonatas find Beethoven experimenting more with form and concept.[2]

Structure[edit]

The sonata has four movements:[4]

  1. Allegro con brio
  2. Adagio con molto espressione
  3. Menuetto
  4. Rondo: Allegretto

A typical performance lasts 25-30 minutes.

First Movement[edit]

The first movement is in typical sonata form. The exposition starts in the tonic key and transitions into the dominant key as the second theme begins. The development plays around with the closing bars of the exposition before making the right hand play arpeggios as the bass line slowly descends chromatically. The theme of the closing octaves from the exposition comes back again in the bass, leading into a chromatic scale resolving in an FMm7 chord (dominant function of the sonata), which sets up the recapitulation. The recapitulation is at first the same as the exposition, but has some changes, with a deviation that sets the rest of the movement to stay in the tonic key.[4]

Second Movement[edit]

The second movement is in E flat major and is also in sonata form. Its opening melody is often compared to the later music of Chopin.[4] The exposition starts in the tonic key and ends in the dominant key. The development plays around with the first theme of the exposition, slowly building intensity until both hands play constant 16th notes. The right hand plays a second voice above its semiquavers, and a little later, the left hand plays a bass line consisting of just B flats. The left hand then stops and the right hand flows right into the recapitulation. The recapitulation stays in the tonic key for the rest of the movement.

Third Movement[edit]

The third movement is in minuet and trio form, but the trio is instead a very contrasting "Minore". The first 30 bars of the Menuetto are in B flat major, the Minore is in G minor (the relative minor of B flat major). The end of the Minore is marked Menuetto D.C. senza replica which means to play the Menuetto again, this time without taking the repeats. This is the shortest movement.[4]

Fourth Movement[edit]

The fourth movement is in a rondo form: A-B-A-C-A-B-A-Coda.[4] The first "A" theme starts in the tonic key, and the "B" theme transitions into the dominant key with big grand arpeggios in the right hand using a good portion of the keyboard. After the arpeggios, both hands play around with the "A" theme's melody before arriving back to the tonic key at the second "A" theme (with very little deviation from the first "A" theme). Suddenly, the "C" theme begins with a key change into B flat minor (although not marked in the key signature). The sharp forte chords, although in stark contrast with the rest of the rondo, bear some resemblance to the first few chords of the "B" theme. The right hand then plays urgent demisemiquavers while the left hand supports with staccato semiquavers. This reaches a climax, a "call-and-response" play on the beginning of the "C" theme, and the demisemiquavers passage with the climax again.

Not unlike the end of the "B" theme, the "A" theme's melody is suggested a few times before returning to the tonic key and a third "A" section. However, the melody of this "A" section is in the left hand until the right hand has a two-bar demisemiquaver run that flows into the rest of the melody, this time the right hand octaves being broken. The next section (second "B" section) is very similar to the first "B" section except that it stays in the tonic key all the way through. A fake "A" section is played in the subdominant key before developing into the final "A" section where the melody consists of triplet semiquavers instead of regular duplet semiquavers. The very end of the final "A" sections runs right into the coda that builds up to an exciting final climax before relaxing to a piano dynamic level and two big chords (dominant seventh to tonic) to conclude the sonata.

References[edit]

External links[edit]

Piano sonatas by Ludwig van Beethoven

Nos. 1–10
(Opp. 2–14)
  • No. 1 in F minor, Op. 2, No. 1
  • No. 2 in A major, Op. 2, No. 2
  • No. 3 in C major, Op. 2, No. 3
  • No. 4 in E♭ major, Op. 7 (Grand Sonata)
  • No. 5 in C minor, Op. 10, No. 1
  • No. 6 in F major, Op. 10, No. 2
  • No. 7 in D major, Op. 10, No. 3
  • No. 8 in C minor, Op. 13 (Pathétique)
  • No. 9 in E major, Op. 14, No. 1
  • No. 10 in G major, Op. 14, No. 2
Nos. 11–20
(Opp. 22–49)
  • No. 11 in B♭ major, Op. 22
  • No. 12 in A♭ major, Op. 26 (Funeral March)
  • No. 13 in E♭ major, Op. 27, No. 1
  • No. 14 in C♯ minor, Op. 27, No. 2 (Moonlight)
  • No. 15 in D major, Op. 28 (Pastoral)
  • No. 16 in G major, Op. 31, No. 1
  • No. 17 in D minor, Op. 31, No. 2 (The Tempest)
  • No. 18 in E♭ major, Op. 31, No. 3 (The Hunt)
  • No. 19 in G minor and No. 20 in G major, Op. 49
Nos. 21–32
(Opp. 53–111)
  • No. 21 in C major, Op. 53 (Waldstein)
  • No. 22 in F major, Op. 54
  • No. 23 in F minor, Op. 57 (Appassionata)
  • No. 24 in F♯ major, Op. 78 (À Thérèse)
  • No. 25 in G major, Op. 79
  • No. 26 in E♭ major, Op. 81a (Les adieux)
  • No. 27 in E minor, Op. 90
  • No. 28 in A major, Op. 101
  • No. 29 in B♭ major, Op. 106 (Hammerklavier)
  • No. 30 in E major, Op. 109
  • No. 31 in A♭ major, Op. 110
  • No. 32 in C minor, Op. 111
Unnumbered (WoO)
Spurious/doubtful (Anh.)
  1. ^Forte, Allen (1979). Tonal Harmony in Concept & Practice, p.145. Third edition. ISBN 0-03-020756-8.
  2. ^ ab"Artur Pizarro — The Beethoven Sonata Cycle", BBC (accessed August 3, 2015).
  3. ^The "grand" modifier was applied by Beethoven to sonatas with four movements instead of three.
  4. ^ abcdeCummings, Robert. "Piano Sonata No. 11 in B Flat Major, Op. 22 (1800)" in All Music Guide to Classical Music: The Definitive Guide to Classical Music, p. 108 (Chris Woodstra, Gerald Brennan, Allen Schrott eds., Hal Leonard Corporation, 2005).

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