Beethoven Piano Sonata (No.8 in C minor 'Pathétique'-1798)

The structure of this set work is described as sonata form, please put the 12 sections in order.

1. Slow “Grave" introduction

2. Exposition section

3. First subject (in the tonic)

4. Transition (based on 1st subject theme, music prepares modulation to the expected Eb major, but in stead, it turns to be the unexpected Eb minor)

5. Second subject part 1 (in the unexpected Eb minor)

6. Second subject part 2 (in the relative major, Eb major)

7. Codetta

8. Repeat of the exposition section

9. Slow “Grave” introduction (in the dominant key of G major)

10. Development section (material from the first subject only is developed, music moves through unrelated keys, e.g. it starts in E minor)

11. Recapitulation section

12. First subject (in the tonic)

13. Transition (abbreviated version, music prepares modulation to F minor)

14. Second subject part 1 (in the subdominant key, F minor)

15. Second subject part 2

16. Slow “Grave" introduction (in the tonic key, with a rhythmic variation)

17. Coda
    

Identify 3 aspects of this set work that demonstrates “virtuosity" in the piano part

1. Fast tempo & disjunct wide-ranging leaps (first subject theme jumps up 2 octaves)

2. Use of hemidemisemiquavers, in the 2 and a half octave chromatic descent (before exposition)

3. Use of wide-ranging dynamics, articulations, sopra etc.

4. playing in octaves

Identify 3 early signs of the “Romantic" style shown in this piece

1. Adventurous use of sonata form structure (details?)

2. Wide-ranging dynamics

3. Rich chord vocabularies (e.g. diminished 7ths)

4. Dissonant, chromatic harmonies

5. Virtuosic piano playing - development of the piano’s capabilities

Identify 3 features of the setwork which are typical for the “Classical" style

1. Melody-dominated homophony

2. Well-proportioned, regular phrasing, graceful, elegant melodies

3. Functional harmony

4. Use of sonata form

Make 3 observations about Beethoven’s use of dynamics in this setwork

1. Sforzando’s chord in grave intro, followed by contrasting pianissimo (dynamics-sudden, contrasting dynamic changes)

2. Crescendo in the first subject theme

3. Dramatic fortissimo chords to mark the end of the exposition

Make 3 observations about the “harmonic devices" Beethoven uses in this setwork

1. dominant preparation, octave tremolo Gs in the LH at the end of the exposition codetta

2. Perfect cadences (for example at the end of recapitulation coda)

3. interrupted cadences (e.g. in the slow intro)