{"id":179,"date":"2018-11-28T22:23:04","date_gmt":"2018-11-28T21:23:04","guid":{"rendered":"https:\/\/www.popularbeethoven.com\/?p=179"},"modified":"2022-09-18T11:08:24","modified_gmt":"2022-09-18T09:08:24","slug":"beethoven-piano-sonata-no-1","status":"publish","type":"post","link":"https:\/\/www.popularbeethoven.com\/beethoven-piano-sonata-no-1\/","title":{"rendered":"Beethoven Piano Sonata No. 1"},"content":{"rendered":"

The Piano sonata no. 1. was written in 1795 and it was the first important own piece he played publicly. Beethoven dedicated it to Joseph Haydn (his teacher at the time) with simple words: dedicated to Haydn<\/em>. In this article with the help of audio clips we will learn about this wonderful music, in depth.<\/strong><\/p>\n

Legend has it that the old master (Haydn) was hurt by this simple text, he felt a more warm and thankful dedication was due. As we know, Beethoven had a complicated relationship with Haydn, at a time stating that he was learning nothing from him. Later, a more matured Beethoven would never have said such a thing and in fact they have much in common.<\/p>\n

|Related:<\/span> Haydn and Beethoven<\/a><\/p>\n

For Beethoven the piano<\/a> was a very intimate instrument. No other genre will tell us so much about this great composer, than the 32 piano sonatas he composed. The piano was with which he was experimenting and exploring new ways in his creativity. From the 32 piano sonatas Beethoven wrote we have manuscripts for 15. These provide background and insight on how the composer meant the piece to be played.<\/p>\n

|Related:<\/span> On what piano brands did Beethoven play?<\/a><\/p>\n

The piano sonata no. 1., op. 2, F minor<\/strong> is an early music from Beethoven\u2019s first creative period, but already carries the marks of the musical revolution he was about to unleash.<\/p>\n

 <\/p>\n

First movement \u2013 Allegro, F minor, sonata form<\/strong><\/p>\n

Just as the first movement, the whole work is written in F minor, which is a rare key. From Beethoven the next such a piece will be the Pastoral symphony (op.28) or the String quartet 59\/2. The time indicator is allegro (lively), but alla breve<\/em>, which is a bit faster, 2\/2.<\/p>\n

Exposition<\/em><\/p>\n

Bar 1-9: first theme in 2-bar rhythm<\/p>\n

Bar 9-21: bridge<\/p>\n

Bar 21-42: second theme in Ab major<\/p>\n

Bar 42-49: Coda<\/p>\n

Double bar and repeat<\/p>\n

Development<\/em><\/p>\n

Bar 50-103: development section, which refers to both theme 1. and theme 2.<\/p>\n

Recapitulation<\/em><\/p>\n

Bar 103-110: first theme<\/p>\n

Bar 110-121: bridge<\/p>\n

Bar 121-142: second theme<\/p>\n

Bar 142: coda.<\/p>\n

The beginning of this piano sonata is written in a style called Mannheim Rocket<\/em><\/a> (Mannheimer Rakete). It is a musical technique perfected by the Mannheim Orchestra, with a rising figure, speeding up and growing louder.<\/p>\n

This exposition has more to do with Mozart than Haydn, the theme is intentionally evoking Mozart\u2019s G minor symphony. Beethoven knew the audience will recognize it immediately and we can almost see him smiling and thinking: look what I can do with it!<\/em><\/p>\n

The theme in character is very agitated, like a steam engine driving forward breathlessly.<\/p>\n\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-1.mp3<\/a><\/audio>\n

 <\/p>\n

The second theme is the opposite of the first. That goes up, this comes down in melodic inversion.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-2.mp3<\/a><\/audio>\n

 <\/p>\n

The end of the first movement is a dramatic fortissimo (one step up from forte, meaning very loud). The music leaves us without any catharsis, finishes in suspense.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-3.mp3<\/a><\/audio>\n

 <\/p>\n

Second movement \u2013 Adagio, F major, modified sonata form<\/strong><\/p>\n

This movement is a real adagio (slowly), which is just another connection to Haydn, who often wrote second movements in this tempo. Contrary to Mozart, who almost never did, but rather used andante (walking speed).<\/p>\n

Exposition<\/em><\/p>\n

Bar 1-17: first theme<\/p>\n

Bar 17-23: bridge<\/p>\n

Bar 24-32: second theme in C major<\/p>\n

Development<\/em><\/p>\n

Bar 32: there is no development in this movement<\/p>\n

Recapitulation<\/em><\/p>\n

Bar 33-48: first theme<\/p>\n

Bar 49-57: second theme<\/p>\n

Bar 57: coda.<\/p>\n

Let us listen to this wonderful music that is like singing, very light and elevated in mood.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-4.mp3<\/a><\/audio>\n

 <\/p>\n

Third movement \u2013 Menuetto and trio<\/strong><\/p>\n

Menuetto in F minor<\/em><\/p>\n

Bar 1-15: first theme<\/p>\n

Double bar and repeat<\/p>\n

Bar 16-30: development referring to the first theme<\/p>\n

Bar 30-42: first theme varied and shortened<\/p>\n

Double bar and repeat<\/p>\n

 <\/p>\n

Trio in F major<\/em><\/p>\n

Bar 1-11: first theme<\/p>\n

Bar 12-27: development referring to the first theme<\/p>\n

Bar 28-35: first theme varied and shortened again<\/p>\n

Double bar and repeat<\/p>\n

Menuetto da capo<\/em><\/p>\n

 <\/p>\n

The music starts with upbeat – as usual in this sonata<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-5.mp3<\/a><\/audio>\n

 <\/p>\n

\u2026. then it goes dark.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-6.mp3<\/a><\/audio>\n

 <\/p>\n

After, comes the trio, which makes the music light again.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-7.mp3<\/a><\/audio>\n

 <\/p>\n

Fourth movement \u2013 Pressissimo, F minor, sonata form<\/strong><\/p>\n

Prestissimo is faster than presto (rapid), a quite extreme timing.<\/p>\n

Exposition<\/em><\/p>\n

Bar 1-10: first theme<\/p>\n

Bar 10-23: bridge<\/p>\n

Bar 23-51: second theme<\/p>\n

Bar 51-57: coda based on first theme<\/p>\n

Double bar and repeat<\/p>\n

Development<\/em><\/p>\n

Bar 60-141: development section<\/p>\n

Recapitulation<\/em><\/p>\n

Bar 141-149: first theme unaltered<\/p>\n

Bar 149-164: bridge<\/p>\n

Bar 164-192: second theme slightly varied<\/p>\n

Bar 192: coda with the repetition of the first theme<\/p>\n

 <\/p>\n

The feel of this movement – as it begins – is very dramatic, harsh.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-8.mp3<\/a><\/audio>\n

 <\/p>\n

Then comes a lyric part, which represents a beautiful contrast.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-9.mp3<\/a><\/audio>\n

 <\/p>\n

The development section is like a completely new piece, very different from the rest of the movement.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-10.mp3<\/a><\/audio>\n

 <\/p>\n

Finally, the end of the movement gets back to its harsh feel and closes without releasing the tension.<\/p>\nhttps:\/\/www.popularbeethoven.com\/wp-content\/uploads\/2018\/11\/Sonata-No-1-F-Minor-op-2-11.mp3<\/a><\/audio>\n

\n

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    The Piano sonata no. 1. was written in 1795 and it was the first important own piece he played publicly. Beethoven dedicated it to Joseph Haydn (his teacher at the time) with simple words: dedicated to Haydn. In this article with the help of audio clips we will learn about this wonderful music, in depth. Legend has it that the … <\/p>\n

    Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":195,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[16,15,14],"class_list":["post-179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-beethoven-opus-2","tag-beethoven-piano-sonata-no-1","tag-piano-sonata"],"_links":{"self":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/posts\/179","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/comments?post=179"}],"version-history":[{"count":0,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/posts\/179\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/media\/195"}],"wp:attachment":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/media?parent=179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/categories?post=179"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/tags?post=179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}