Piano Sonata of “Op 14 No 2 Analysis
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Introduction
This paper analyses “Piano Sonataof “Op 14 No 2,” which was written by Ludwig Van Beethoven. It further analyzes Allegro Sonata has a rich history having been discovered hundred years ago and used for decades for entertainment. The composition and structure of Allegro Sonata composed during the early days of western civilization. Ludwig van Beethoven was a German composer and a pianist. He participated in the transition, which occurred between the classical and romantic era in most classical music, and therefore, he remained an important figure in the musical industry CITATION Fla18 \l 1033 (Flamm and Martin 2018). He is also considered to be one of the greatest composers in the history of music and therefore, he has inspired millions of people worldwide. Throughout his career, he composed several concertos, sonatas, symphonies, violin sonatas, masses, an opera and several other concerts. He studied music at Wolfgang Mozart and taught music in several schools, German. Beethoven's personal life was marked by a struggle with deafness. In the last ten years of his life he never composed or participation in composition of any music because he was not able to hear. He was passionate about human dignity and therefore, he used music to champion the freedom and right of people.
Allegro Sonata was used during the classical music era. It is a combination of Sonata and rondo form and therefore, it produces lyrical tunes loved by western audience and therefore, it majorly used in western music. It is pointed that Rondo and Sonata create a unique pattern of ABACABA, where letters are used to represent musical theme, and therefore, two unique tones are used allegro. Exposition is used in the Rondo as the fist ABA to represent theme. The work of sonata such as Rondo and Sonata Op 14 No 2 is divided into distinct sections on where each part is defined by its take on musical key and theme. Sonata music begins with exposition, which is a section representing the musical theme and then followed by the development section. The exposition is used to introduce a new theme into the play and the last section is the recapitulation. Piano Sonata like other Sonatas has three sections that provide a clear guideline during performance to ensure that lyric matches the theme.
Structure of Sonata
Sonata structure is regarded as first movement form or sonata allegro form. It is found in many works, which were composed during early Classic of the eighteenth (18) Century. It is found in several movements. The Sonata structure is found in piano by Kuhlau and other musical instruments related to piano. The sonata consists of three movements, which are known as its structure. It has development, recapitulation, and exposition to bring out the musical lyrics needed from the performance.
Critical analysis of the allegro sonata above shows the presence of tonic and repetition throughout. The repetition is what the listeners hear and make a judgment of music. However, the development is the section where music is moderated for foreign keys. The new themes also appear at the development section of sonata where melody sounds are more like improvisation. It also offers a strong sense of resolution before the music is taken by recapitulation which is the last section of Sonata structure. The recapitulation section of sonata provides the best tone and melody required to convey a message to the audience therefore, it helps in bringing the melody home to achieve the tonic key. At section, the original theme, which originated from the exposition, is repeated, though both themes are ina tonic key. Though the bridges are still used to serves as link with the themes, it does not modulate a new tone. Therefore, the Allegro of “Op 14 No 2is qualified to be regarded as part of Sonata form because it has clearly defined three sections. It is structurally divided into three exposition, development and recapitulation. It is evident that there is three (3) recap of the exposition at the recapitulation, which is the last section of the sonata. A look at the structure of sonata, the two first keys are similar to the last keys and therefore, it indicates the recap of the theme at the end of the sonata.
Exposition
Exposition is the first movement in sonata where the themes are established. At the exposition section two themes are introduced the tonic and repetition keys. These keys provide direction to the performance and the music. At exposition section, the musical tones, melody and structure of performance are formed and therefore, the production of any composed music or any other performance depends on the exposition because development and recapitulation depend on it. In exposition, which is the first section of sonata, the aspect of the section is for the introduction of the theme or the melodic ideas. At the exposition sections, two aspects of themes are introduced which provide direction of the performance. The tonic key and the repetition are actualized and therefore, the repetition helps themes to return to other sections. It also makes the transition sounds to function and therefore, it allows the development to pick melody from the exposition. At this section, the rhythm is lower, and it improves step by steps to adjust to the next section. The slower rhythm makes the repetition of themes to be achieved so the music can attain the melody, key and tune, which are required. The repetition and the tonic keys make the transition function and sound as a transition. In this case, there are three (3) repetitions, which allow the transition to the development section. Because the themes are introduced in this section, it plays a critical role in setting the tempo of music. There is a stronger sense of contrast
Development
The development section is an important section of the sonata. At this stage, themes are developed after transition from exposition. In the “Piano Sonata” by composed by Ludwig Van Beethovenallegro vivace is introduced which increases the tempo or pace. The development provides high performance, therefore, the speed of performance improved at m-65 by 56–176 bpm. The improved speed changed the performance and the tone as well. Therefore, the speed at the exposition is different, with speed utilized at development and recapitulation. The speed of performance increases in every step, which means that the change of themes introduces a new aspect of pace and this is evident throughout the music in all the three sections of the sonata. The themes are developed in binary form and in sequence. In this case, it begins from the lower G-Clef to the upper G-Clef. The exposition section functions majorly in lower pace, and therefore, it means it majorly on lower G-Clef so it moves flow to the upper at the development stage. At the development section the two themes, which are introduced, are tonic and the castrating key. The tonic is introduced first then contrasting key. At the development stage 2-G clef, which shows an increase in pace compared to exposition which has only 1-G clef. Therefore, the analysis of the music Sonata of Allegro Sonata “Op 14 No 2,” composed by Ludwig Van Beethoven shows a trend of structure, which is different in section of the sonata The development section of piano sonata the tonic pace and volume increase, which symbolizes the centre of performance..
However, it means that the keys are changed frequently to limit the contrapuntal of the relationship of different components of sonata. It is therefore, helps in checking for any form of theme fragmentation that may takes place. The theme appears in the new keys, which are formed at the development stage. This ensures that a smooth transition is achieved from exposition and to the recapitulation. The new melodies are also established at this point the provision of expansion is also permitted and therefore, an entire new material can be introduced at this stage as well. In this case, the first movement of Beethoven’s symphony No. 4 (four) in the B-Flat major (1806) for example, the theme established in the development section is described as “new” which is a decorated version of the motive, which is already heard in the exposition section. Therefore, the new theme “new” which appeared in the exposition section reappears in the development section of the sonata. However, a common tactic identified in the classical development part starts with the codetta theme, which ended the exposition. Therefore, in the first movement of Beethoven's Cello Sonata No.2, the G. Minor (1796), it is therefore, evident that repetition of the themes is witnessed throughout the music. The modulation is slower and it picks up from exposition to the development, and it guides the transition to the recapitulation stage.
Recapitulation
The recapitulation section is essential for the performance of the musical element. Just like the development stage, recapitulation is an essential part of the structure of the sonata structure. It marks the ending of the musical argument process and the beginning of the synthesis of what argument has prepared for the listeners. The subject matter is presented in a manner that listeners can understand. At this stage the tonic and the dormant keys are reintroduced and therefore, the musical event is developed to create a new connection with the people. In the first movement of the Mozart’s Sonata in the B-flat Major, K570, a modification of the transition that led from the tonic dormant is done and this therefore, changed the perspective and the tonic key to the subject. However, in the first movement of the Beethoven’s Erica, there areseveral Haydn’ssymphonic movements and other far reaching modification and the reshufflings of materials that are made in the recapitulation. It therefore, helps in modification and hiding of the theme in the middle of the voice. This therefore, ensures that the transition is anchored to achieve the intended pace. However, the method applies differ from work to work but it brings about the reconciliation of the opposites importance to the sonata form.
The analysis also establishes a large scale sonata movement, which tends to create a conflict of different keys and themes which cannot be settled completely even if a full recapitulation is achieved. The rhythm is slower and the pace goes up and down to achieve maximum reconciliation. In this section, the movement also rounded off using a coda or a concluding part. However, Beethoven always extends the use of code greatly to make become like the second development. This therefore, happens at the recapitulation stage of the Piano Sonata No. 23 in F Minor (1804-05 Appassionata). At the recapitulation stage, sonata also may introducethe precedeof the main movement. Therefore, the tonic and the contrasting change in section. The ending tonic key is introduced top summarizes the theme. It is important to state that the tonic is lowered and the themes are summarized and there is no introduction of new theme or development of any theme at this level.
Conclusion
This paper, therefore, analysis the No. 23 in F Minor (1804-05 Appassionata by Ludwig Van Beethoven. It established that Piano Sonata has a rich history having been discovered a hundred years ago and used for decades for entertainment. The composition and structure of “Piano Sonata” is structured three times and at each section, there are different events that take place to complete the process of sonata. The Piano Sonata was very popular during the early days of western civilization and it is still popular up to date in the modern world. The structure of piano Sonata composed of exposition, development and recapitulation. Every section of the sonata is essential and therefore, sonata sections help in development the tonic key. The analysis established that piano sonata operates in transitions, which undergo through the three sections of its structure. It is ensures that a smooth transition is achieved from exposition and to the recapitulation. The new melodies are also established at this point the provision of expansion is also permitted and therefore, an entire new material can be introduced at this stage as well. In this case, the first movement of Beethoven’s symphony No. 4 (four) in the B-Flat major (1806) for example, the theme established in the development section is described as “new” which is a decorated version of the motive, which is already heard in the exposition section.
Bibliography
BIBLIOGRAPHY Flamm, Christoph, and Mag Martin. "The Sonata as an Ageless PrincipleNikolai Medtner’s Early Piano Sonatas:." Analytic Studies on their Genesis, Style, and Compositional Technique, 2018: 2-15.
