Piano Sonata No. 5 (Beethoven)
From Wikipedia, the free encyclopedia
Ludwig van Beethoven's opus 10 no. 1 is the Piano Sonata No. 5 in C minor. It is dedicated to Anna Margarete von Browne. The first movement of the sonata has a 3/4 meter, the second movement 2/4, and the final movement 4/4. Beethoven's Piano Sonata No. 5 is a first period composition, anticipating more notable C minor works such as the Pathétique Sonata and the Fifth Symphony in its nervous energy. Indeed, this sonata has been christened "The Little Pathétique", as it has many characteristics of the sonata, with respect in key and tempo.
[edit] Form
The sonata is divided into three movements:
- Allegro molto e con brio in C minor
- Adagio molto in A flat major
- Prestissimo in C minor
The first movement, in sonata form, opens energetically with contrasting loud and soft phrases. A 24-measure modulating passage provides a quiet contrast before arriving at the second theme in E-flat. In the recapitulation, the second theme is initially in F major before returning to C minor.
The second movement is a lyrical Adagio with many embellishments. It is in A-B-A-B or "sonatina" form; an apparent third appearance of the main theme turns into a coda.
The third movement is a highly nervous piece in sonata form, making heavy use of a figure of five eighth notes. The coda slows the tempo down, leading to a final outburst which fades to a quiet but agitated C major.
[edit] Comparison to the Pathétique Sonata
This sonata embodies the Pathétique Sonata in all three movements in many styles. For example, the first movements start out with a storming exposition, before arrive at the quiet secondary theme in E flat major. However, when the secondary theme of both sonatas is used again in the minor key, there is a shocking conversion: the happiness and hope of the secondary theme has been banished.
The second movement of both sonatas are both written in A flat major, both at Adagio tempo and both in 2/4 time. Both movements unwind very gentle and docile melodies and weave into many modulations.
The third movement of both sonatas are both written at a very vigorous tempo, and both, on occasion, contain the storminess of their first-movement ancestors.
