van Beethoven’s Piano Sonata Op. 109, E-major
The first tendency of Beethoven’s Sonata Op. 109 in E-major is an example of an foreign sonata form. Some theorist think the piece is written in free sonata form, others vocalise it is a sonata form/fantasy. The movement does follow the rules of the sonata whollyegro, save in a very unique way. It is very short in length; however, what Beethoven does with the form goes beyond all expectations.
This movement has two very distinct understructures. Not only do they differ in character, mood and shape, they in any case differ in tempo. First root word is Vivace, ma non troppo, trice – Adagio espressivo. The unusual thing is non that there are two antithetic tempi in the movement (Beethoven’s has done that with a draw poker of his earlier sonatas), but the fact that the fast tempo goes to begin with the slow. Therefore, it is obvious that the beginning of the movement is not an introduction but is in fact very and important part of the piece.
Reversing tempi is not the only atypical thing about this sonata. After the second content is introduced, Beethoven develops the theme in a Cadenza-like style. This could be one reason why theorists associate the movement with a fantasy.
The flashy passages go straight into a development section, which also uses an unusual development method that we have come modify to hearing in Beethoven’s sonatas. This section is ground on the first theme of the piece. The rhythmical pattern of the theme does not change throughout the whole development. Harmonically, however, it is very chimerical and fresh.
As I mentioned before, the movement is not long, therefore all the themes are kept really short and condensed. The first theme of the exposition is pretty square, it is in 2/4 amount and only eight bars long, consisting of two four-bar phrases. The character of the theme is light and peaceful, so by writing it in a square meter gives curtain...If you want to get a to the full essay, order it on our website: Orderessay
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