Interestingly, the work was not initially labelled as the ‘Moonlight Sonata’, but instead its original title was: Sonata quasi una fantasia (‘Sonata in the manner of a fantasy’). The three movements are laid out as follows: It is thought that Beethoven wanted to start with a prelude to the other movements, which is why the first movement seems like a somewhat introduction to the work. The change in speed throughout the movements give this work momentum for the fiery final movement. Unlike traditional movement arrangement of fast-slow-fast, Beethoven uses a slow-moderate-fast sequence of movements. The different characters that Beethoven creates in each one of these dynamic movements makes this sonata unique, so no wonder it is still so popular! Many of you will know this work for its heart-wrenching first movement, but this work actually has three movements, all of which are fantastic in their own right. The work was dedicated to the Austrian countess, Giulietta Guicciardi, who was briefly a piano student of Beethoven’s. Now known as the Moonlight Sonata, this solo work for piano is regularly performed around the world in recitals, exams, and in homes. 14 (Moonlight Sonata) ContextĬomposed in 1801, Beethoven’s fourteenth piano sonata is perhaps his most famous. The slows down in the coda, leading to a final outburst which fades to a quiet Picardy third on a leading-tone imperfect authentic cadence, giving a sense of relief.Ludwig van Beethoven: Piano Sonata No. The short development section contains an unmistakable foreshadow of the theme from Beethoven's Symphony No. Like the first movement, it is fast, dramatic, and angular. The third movement is in sonata form, making heavy use of a figure of five eighth notes. It is in "sonatina" form (there is no development section, only a single bar of a rolled V 7 chord (E♭ 7) leading back to the tonic key) an apparent third appearance of the main theme turns into a coda, imitating a cello solo, which slowly fades to a final perfect cadence. The second movement is a lyrical Adagio with many embellishments. The essential structural closure is in m. The secondary theme is also expanded from the exposition. Initially, the secondary theme is stated in F major (major subdominant), a "false start", before being stated in tonic C minor. ![]() The exposition's transition is altered harmonically in the recapitulation. 168–284, 11 measures longer than the exposition. The development (after Darcy/Hepokoski's Sonata Theory) is half-rotational and divides into pre-core and core sections (after William Caplin) it lasts from mm. The closing section, in two parts, quotes both secondary and primary themes. 56–75 and ends with the essential exposition closure. The secondary theme, which is accompanied by an Alberti bass, lasts from mm. ![]() The transition, which is separately thematized and provides a quiet contrast, is in two parts and lasts from mm. The primary theme, a modified sentence structure, lasts from mm. In addition to rhythmic syncopation, this movement juxtaposes short fragmentary themes with longer, more lyrical melodies, heightening the dramatic, impulsive effect. The movement features alternating strongly and weakly stressed bars, though Beethoven gradually and subtly switches the stress from odd-numbered measures to even-numbered measures. The theme is angular in shape, both in its rising arpeggios and its dotted rhythm. The first movement, in sonata form, opens energetically with contrasting loud and soft phrases.
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