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Theses and Dissertations

2013

Ludwig Van Beethoven's Sonata for cello and pianoin F major Op. 5, No. 1: an analysis and aperformance editionJeeHyung MoonUniversity of Iowa

Copyright 2013 JeeHyung Moon

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/4881

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Recommended CitationMoon, JeeHyung. "Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition."PhD diss., University of Iowa, 2013.http://ir.uiowa.edu/etd/4881.

LUDWIG VAN BEETHOVEN’S SONATA FOR CELLO AND PIANO

IN F MAJOR OP. 5, NO. 1:

AN ANALYSIS AND A PERFORMANCE EDITION

by

JeeHyung Moon

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa

August 2013

Essay Supervisor: Associate Professor Anthony Arnone

Copyright by JEEHYUNG MOON

2013

All Rights Reserved

Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL D.M.A. ESSAY This is to certify that the D.M.A. essay of JeeHyung Moon has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the August 2013 graduation. Essay Committee: Anthony Arnone, Essay Supervisor William LaRue Jones Volkan Orhon Katherine Wolfe Jennifer Iverson

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To My Parent

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The true artist has no pride. He sees unfortunately that art has no limits. He has a vague awareness of how far he is from reaching his goal; and while others may perhaps admire him, he laments that he has not yet reached the point to which his better genius only lights the way for him like a distant sun. Ludwig van Beethoven. July 17, 1812. From the letter to Emilie M.

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ACKNOWLEDGEMENTS

This essay has been fulfilled thanks to the great help by many people. First of all,

my essay supervisor, Professor Anthony Arnone enormously inspired me with the topic

and details of every chapter. Beethoven’s cello sonata in F major op. 5, No. 1 is the first

piece I studied with him in the University of Iowa. Five years ago, Professor Arnone

helped introduced me to this piece and provided great insight. This piece was also on the

program of my first D.M.A. recital in 2010. My dissertation essay will provide me many

memories of the University of Iowa, Professor Arnone, and colleagues. Among the many

professors who taught and inspired me, Professor Jennifer Iverson notably helped with

the analysis chapter. She suggested proper musical terms, theory texts, and shepherded

my analysis.

Above all, without many great lectures and lessons from professors of the

University of Iowa, I could not have finished this essay. I specially thank my essay

committees. They have all given me important knowledge that has made this essay come

to fruition.

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TABLE OF CONTENTS

LIST OF TABLES vi

LIST OF FIGURES vii

CHAPTER

I. INTRODUCTION 1

II. THE HISTORIC BACKGROUND OF BEETHOVEN’S CELLO SONATA IN F MAJOR OP. 5, NO. 1 4

Biography 4 The Cello Sonata in F Major Op. 5, No.1 17

III. THE ANALYSIS OF BEETHOVEN’S CELLO SONATA IN

F MAJOR OP. 5, NO.1 21

The Analysis of the First Movement 21 Adagio sostenuto 21

Allegro 26 Exposition 32 Development 43 Recapitulation 49

The Analysis of the Second Movement 58 Rondo Allegro vivace 58

IV. THE PERFORMANCE EDITION OF BEETHOVEN’S CELLO

SONATA IN F MAJOR OP. 5, No. 1 73

The Performance Edition Score 73 The Performance Guide for the Edition 90

Editorial Commentary 90 The First Movement 98 The Second Movement 107

V. CONCLUSION 112

APPENDIX. AUTOGRAPH SKETCHES AND TRANSCRIPTION 114

BIBLIOGRAPHY 120

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LIST OF TABLES

Table 1. Theoretical Terms and Abbreviations of Sonata Form 28

Table 2. Tonal Hierarchy 32 Table 3. Formal Structure of the Exposition of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1 33

Table 4. Formal Structure of the Development of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1 45

Table 5. Key Structure of the Development of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No.1 45

Table 6. Formal Structure of the Recapitulation of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1 50 Table 7. Key Structure of the Recapitulation of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1 51

Table 8. Structure of the Sonata-Rondo Form 58

Table 9. Formal Structure of the Allegro vivace of Beethoven’s Cello Sonata in F major, Op. 5, No. 1 59

Table 10. Key Structure of the Allegro vivace of Beethoven’s Cello Sonata in F major, Op. 5, No. 1 60

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LIST OF FIGURES

Figure 1. Key Structure of the Introduction (Adagio sostenuto) 22

Figure 2. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 1-4 23

Figure 3. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 5-10 23 Figure 4. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 11-16 24 Figure 5. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 17-22 25 Figure 6. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 29-31. (short cadenza passage) 25 Figure 7. Structure of the Sonata Form 31

Figure 8. Key Structure of the Exposition of Beethoven’s Sonata for Cello and Piano Op. 5, No. 1 33 Figure 9. Sentence Structure 34

Figure 10. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 35-57. Main Theme (Sentence): basic idea (mm. 35-38) + basic idea (mm. 39-42) + continuation (mm. 43-46) + cadential (mm. 47- 49: PAC) 35

Figure 11. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 70-80. Secondary theme (three phrase period): antecedent (mm. 73-76) + 1st consequent (mm. 77-80) + 2nd consequent (mm. 81-84) 37

Figure 12. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 81-92. Repetition of secondary theme: mm. 85-107 39

Figure 13. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 93-104 40 Figure 14. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 108-123 41 Figure 15. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 143-152 EEC: m. 143 (PAC of C major) 42

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Figure 16. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 153-160 43 Figure 17. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 161-169 46 Figure 18. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 171-179 47 Figure 19. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 195-204 48 Figure 20. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 217-220 49 Figure 21. Main Theme in the Recapitulation (mm. 221-232) 52 Figure 22. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 221-232 52 Figure 23. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 253-267 54 Figure 24. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 286-295 55 Figure 25. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 337-342 56 Figure 26. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 362-367 56 Figure 27. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 368-371 57 Figure 28. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 380-391 57 Figure 29. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 1-24 61 Figure 30. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 25-35 62 Figure 31. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement,

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mm. 60-63 63 Figure 32. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 64-76 63 Figure 33. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 83-94 65 Figure 34. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 117-131 66 Figure 35. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 138-146 67 Figure 36. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 169-181 68 Figure 37. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 202-211 69 Figure 38. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 219-229 70 Figure 39. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 234-243 71 Figure 40. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 271-290 72

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CHAPTER I

INTRODUCTION

The cello sonata tradition began in Italy during the 17th Century. The instrument

was called bass viol and the first sonata for the instrument tuned ‘C-G-D-A’ was titled

“Sonata per violin e violone” from concerti ecclesiastici written by Giovanni Paolo Cima

(1570-1630) (Milan, 1610).1 Since then many more cello sonatas were composed in Italy

during the 17th Century and most were composed for the cello and basso continuo.2 In

18th Century, J. S. Bach (1685-1750) composed three sonatas before 1741 for the

harpsichord and the viola da gamba, BWV 1027-9 and the Italian cellist-composer Luigi

Boccherini (1743-1805) wrote 34 sonatas for cello and basso continuo. In France, Martin

Berteau (1708-71) and J–B. S. Bréval (1753-1823) composed sets of cello sonatas with

continuo. However, the cello and piano sonata tradition was not an established genre until

Beethoven wrote his first sonata for cello and piano.

Ludwig van Beethoven (1770-1827) wrote his first cello sonata in 1796 while he

was travelling in Germany. This sonata is paired with his cello sonata in G minor Op. 5,

No. 2. In the court of Friedrich Wilhelm II, the King of Prussia, to whom these sonatas

were dedicated, the two sonatas were premiered together with the King’s first cellist Jean-

1 Berry Kernfeld and Anthony Barnett. “Violoncello” in Grove Music Online, http://www.oxfordmusiconline.com, accessed June 25, 2013. 2 Basso continuo was played in various ensembles by players of chordal instruments throughout Europe for roughly two centuries after about 1600. The instruments used included keyboard (organ, harpsichord), plucked string (lute, guitar, harp) and bowed string (bass viol, violoncello). A basso continuo is an instrumental bass line, over which the player improvises or realizes a chordal accompaniment. Since the part is not fully written out, as an obbligato part would be, the function of the basso continuo is to accompany.

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Louis Duport (1749-1819). For this same occasion, he composed two sets of 12

Variations for cello and piano: WoO45, on the theme ‘see, the conqu’ring hero comes’

from Handel’s Judas Maccabeus, dedicated to Christiane von Lichnowsky and Op. 66, on

Mozart’s ‘Ein Mädchen oder Weibchen’ from Die Zauberflöt, dedicated to Count von

Brown.3 These sonatas and variations are historically significant as these works are the

first to emphasize the cello much as the piano. The piano part in these pieces is also

technically demanding compared to other cello and piano pieces from the Classical

period. Because of these features, Beethoven’s Op. 5 cello sonatas are historically

important to study of Beethoven’s first Viennese period.

His next three cello sonatas (op. 69 and Op. 102) are more evolved from the first

two cello sonatas. These last three cello sonatas have Romantic features. Op. 69 (1808-09)

and two Op. 102 (1815) sonatas (No. 1 and No. 2) were composed during Beethoven’s

middle and last periods. They are extensive in forms and have artistic freedom as well as

grand fugal passages. His first two cello sonatas have cleaner style, bright colors, clarity

and simplicity. They have charming melodies, regular rhythm and clean harmony.

Beethoven’s cello sonatas prompted other composers to write many cello sonatas and

created much development in the cello music history.

Beethoven’s earlier works, Op. 5, No. 1, exhibits many specific elements typical

of the composer’s writing of his first Viennese period. During this period, Beethoven was

heavily influenced by Haydn and Mozart, and also tried to find his own compositional

voice. The organization of this sonata explains Beethoven’s endeavor of his new voice.

An elegant and extended Adagio sostenuto introduction and the omission of a slow

3 Angus Watson. Beethoven’s Chamber Music in Context [Woodbridge: Boydell, 2010], 32.

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movement shows his flexible treatment of the tradition. Dramatic dynamic, syncopation

rhythms and the use of chromaticism clearly demonstrates Beethoven’s own

compositional voice.

The purpose of this study is to provide a detailed edition of Beethoven’s cello

sonata Op. 5, No. 1 in F major. I will refer to musical scores by Henle Verlag edited by

André Navarra (1971) and the first edition by Artaria (1797). For sufficient details of the

performance edition, I will refer to many cello pedagogy books such as Jean-Louis

Duport’s Essay on Fingering the Violoncello, and on the Conduct of the Bow. Along with

this performance edition, I will offer an analysis of the harmony, texture and form. For

this, the book Classical Form by William Caplin, and Element of Sonata Theory by

James Arnold Hepokoski and Warren Darcy are primarily used as references.

I am hoping this new edition will provide assistance to both cello students and

professionals for future performances and study.

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CHAPTER II

THE HISTORIC BACKGROUND OF BEETHOVEN’S CELLO SONATA

IN F MAJOR OP. 5, NO. 1

Biography

The biographical information of Beethoven in this chapter is mainly gleaned

from the book Beethoven by Maynard Solomon and the book Beethoven: The Music and

the Life by Lewis Lockwood. I also referred to many other biographies of Beethoven

which can be found in the bibliography at the end of this essay.

Ludwig van Beethoven (1770-1827) was born on 16 December, 1770 into a

family of court musicians at the electorate of Cologne that was situated in Bonn. His

grandfather, Ludwig van Beethoven (1712-1773), was a bass and Kapellmeister at the

court and his father Johann van Beethoven (1740-1792) was a court tenor. Johann van

Beethoven married Maria Magdalena (1746-1787) on November 12, 1767. Their first

child, Ludwig Maria was baptized on April 2, 1769 and lived for just six days. Their

second son, Ludwig, was baptized on December 17, 1770. They had five more children

including Caspar Anton Carl and Nikolaus Johann who are the only siblings of

Beethoven to survive beyond infancy.

Beethoven admired his grandfather deeply and he desired to be a Kapellmeister

like his grandfather. The musical background of the family gave Beethoven an early

musical education that was started by his father when he was four or five years old.

Johann van Beethoven presented the seven-year-old Ludwig in a concert in Cologne on

March 26, 1778, which also featured his pupil, the soprano Helene Averdonck. After this

concert, Johann thought that Ludwig was not ready to perform in public and decided to

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send Ludwig to other professional musicians for better education as Johann found his

own knowledge was insufficient for Ludwig. The court organist Gilles van den Eeden

(1710-1782) briefly gave him lessons in composition and organ technique in the late

1770s. Beethoven also took organ lessons from Friar Willibald Koch and from Zensen,

the organist of Bonn’s Münsterkirche. In addition to keyboard lessons, Beethoven also

had lessons on violin with his relative Franz Rovantini, and later, from Franz Ries,

Bonn’s leading violinist as well as lessons on horn with Nikolaus Simrock. As Beethoven

became a teenager, his musical abilities were recognized and he began to establish a

career. Although without receiving a salary, he became assistant court organist at the

electoral court in 1782 at the age of eleven and “cembalist in the orchestra” in 1783. In

June 1784, he received an official appointment as deputy court organist, at a salary of 150

florins. Beethoven’s success came with the help of his first important teacher, Christian

Gottlob Neefe (1748-1798), a German composer, organist, and conductor arrived in Bonn

in October 1779. Neefe was named successor to van den Eeden as court organist on

February 15, 1781. He became Beethoven’s teacher in 1780 or 1781 and remained his

only important teacher until Beethoven left Bonn in November 1792. Neefe recognized

and encouraged Beethoven’s genius and helped produce his earliest professional

successes. Moreover, Neefe arranged for publication of Beethoven’s early works and

wrote a public notice about him in a communication to C. F. Cramer’s Magazin der

Musik, on March 2, 1783:

“Louis van Beethoven, a boy of eleven years and of most promising talent. He plays the clavier very skillfully and with power, reads at sight very well, and – to put it in a nutshell – he plays chiefly The Well – Tempered Clavichord of Sebastian Bach, which Herr Neefe put into his hands. Whoever knows this collection of preludes and fugues in all the keys – which might almost be called the non plus ultra of our art – will know what this means. So far as his duties

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permitted, Herr Neefe has also given him instruction in through bass. He is now training him in composition and for his encouragement has had nine variations for the pianoforte, written by him on a march – by Ernest Christoph Dressler – engraved at Mannheim. This youthful genius is deserving of help to enable him to travel. He would surely become a second Wolfgang Amadeus Mozart were he to continue as he has begun.”

Neefe’s teaching and encouragement helped Beethoven to develop rapidly in the early

1780s.

Beethoven’s first known compositions were produced under Neefe’s supervision.

In the first few years of this period, he composed the set of Nine Variations in C minor on

a March by Dressler, WoO 63 (1782); Three Clavier Sonatas (“Electoral”), WoO 47

(1782-83), dedicated to Elector Maximilian Friedrich; a Piano Concerto in E-flat, WoO 4

(1784); Three Quartets for Piano and Strings, WoO 36 (1785); as well as several lieders

and small keyboard works. These pieces were quickly published and Beethoven drew the

public’s attention especially because of his young age. In the years of 1785-1790,

however, Beethoven did not write any new works because he was reevaluating his

compositional output and in late 1789 or early 1790, he began to write more serious

music at a much higher level. Beethoven was thoroughly occupied with multiple

activities as court musician in the second half of 1780s, and from 1788, he also played in

the court and theater orchestras as a violist. Beethoven also became a regional keyboard

virtuoso as early as 1781.

In Bonn, Beethoven gave private concerts in his family’s house as well as at the

home of friends and fellow musicians. As a young virtuoso, he also performed

occasionally at the electoral court and salons of the high nobilities. Beethoven often

received financial support from the court in his later Bonn years and his earnings could

support his family. In the spring of 1787, Beethoven visited Vienna, supported by the

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elector to promote a gifted Bonn pianist in Vienna, and perhaps to play for Mozart. But

he had to return to Bonn in two weeks because his mother fell ill. His mother died on July

17, 1787 and his younger sister died in November of that same year. Beethoven was now

in charge of his family as the eldest son and these losses may have prolonged his “silent”

years of his output as a composer.

After the “silent” period of the second half of 1780s, Beethoven found more time

to compose in addition to the activities as a court musician. His concentration on

keyboard performance and improvisation during this “silent” period provided him a huge

energy for his compositions in later years. A sudden burst of activity began around late

1789 or early 1790 and continues through his departure for Vienna in November 1792.

Among the works of this period were four or five sets of piano variations (WoO 64, WoO

65, WoO 66, WoO 67, and perhaps WoO 40); two full-scale cantatas (WoO 87 and WoO

88); incidental music for a ballet (WoO 1); a piano trio (WoO 38); a number of works for

piano solo and various combinations of wind instruments, other chamber music, several

concert arias, as well as a number of songs.

The ideas of the Enlightenment became the official principles of the electorate

city of Bonn during the mid-1780s. The book seller in the 1770s and 1780s in Bonn sold

the latest editions of works by Rousseau and Montesquieu alongside the writings of

Schiller and Goethe. Within this atmosphere, Beethoven’s social and cultural attitudes

took shape and he accepted the main notions of the Enlightenment: virtue, reason,

freedom, progress, and universal brotherhood. Throughout his life, he was to be guided

by the principles of political liberty, personal excellence, and ethical action that were

inspired by the ideas of the Enlightenment.

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In 1790, Franz Joseph Haydn visited England. In December, he departed for

London and on the way there, he stopped at Bonn, arriving during Christmas. He was

welcomed by the elector and leading musicians of Bonn, perhaps including Beethoven.

Haydn stopped in Bonn once more on his way back to Vienna, in the late spring of 1792.

At this time, Beethoven showed him one of his cantatas (WoO 87 or WoO 88) with which

Haydn was impressed. Upon the elector’s request, Haydn accepted Beethoven as a

student. In the beginning of November, 1792, Beethoven set out for Vienna. On

December 18, 1792, seven weeks after Beethoven’s departure, his father died. Beethoven

didn’t write about his father’s death and he never returned to Bonn for the rest of his life.

With the invitation to study with Haydn, Beethoven arrived in Vienna during the

second week of November 1792. Beethoven was regarded primarily as a virtuosic pianist

at the beginning of his career in Vienna. His powerful, brilliant, and imaginative style was

new and fresh at that time. In addition, he was a great improviser on the piano. He

impressed his audience and became a famous musician.

Beethoven began studying composition with Haydn in November 1792, which was the

central purpose of being in Vienna. He was Haydn’s pupil for fourteen months, until

January 1794, when Haydn departed for his second journey to London. Beethoven

learned the entire scope of ideas and techniques of the Classical style from Haydn.

During his lessons with Haydn, Beethoven revised his Bonn compositions. When Haydn

left for London again in 1794, he arranged for the continuation of Beethoven’s studies in

counterpoint with the composer and teacher Johann Georg Albrechtsberger (1736-1809).

The lessons began soon after Haydn’s departure and continued until the spring of 1795.

Antonio Salieri (1750-1825) was also Beethoven’s teacher in dramatic and vocal

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composition for a number of years in Vienna, starting perhaps as early as 1798. After

Haydn returned to Vienna, Beethoven was featured as an instrumentalist at a Haydn

concert in the small concert hall of the imperial palace on December 18, 1795. Beethoven

dedicated his three op. 2 piano sonatas to Haydn. Although Haydn was Beethoven’s

major musical influence, Beethoven already began writing many wholly individual

characteristics in his compositions during this period. He now began to move forward

from his predecessors and contemporaries to a new style of future works.

His two younger brothers, Caspar Carl and Nikolaus Johann arrived in Vienna in

1794 (Caspar Carl) and 1795 (Nikolaus Johann). Caspar Carl obtained a minor position

as a bank cashier in the state bureaucracy, which he held until his death in 1815. He

occasionally served his older brother as unpaid secretary and business agent. Nikolaus

Johann was employed as a pharmacist’s assistant in Vienna until 1808 and eventually

began a shop of his own in Linz. After his brothers were settled in Vienna, Beethoven

started a concert tour. From February to July 1796, he undertook a tour to Prague,

Dresden, Leipzig, and Berlin. In Berlin, he performed at the Prussian court for King

Friedrich Wilhelm II. He performed his two sonatas for cello and piano in F major and G

minor, Op. 5, with the famous cellist, Jean-Louis Duport, for the king.

Beethoven’s first major Viennese compositions appeared in 1795. His primary

models were the creators and masters of the Viennese Classical style, Mozart and Haydn.

Beethoven was also influenced by Glück for his dramatic expression. Muzio Clementi

and Luigi Cherubini were also major influences on Beethoven during this time period.

The genres Beethoven wrote during his first Vienna period, which lasted until about 1802,

were the piano sonata, the duo sonata, the piano trio, the string trio, the string quartet,

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chamber music for winds, the concerto, and the symphony. He also composed many

occasional pieces, many lieders, several arias, and numerous sets of variations.

Beethoven’s first works to have an opus number were the three Trios for piano,

violin and cello Op. 1, published in 1795. Eight of his ten violin sonatas were written

during this period. The set of three sonatas, Op. 12, 1797-1798; the sonatas in Op. 23 and

Op. 24 (spring), 1800-1801; and three sonatas Op. 30, 1801-1802, which were dedicated

to Czar Alexander. Beethoven’s chamber music for strings from this period includes three

string trios, Op. 9, 1798, six string quartets, Op. 18, 1801, and two string quintets Op. 4,

1795, and Op. 29, 1801.

Beethoven also completed three concertos for piano and orchestra during this

period. The concerto No. 1, Op. 15, and the concerto No. 2, Op. 19, were published in

1801 and the concerto No. 3, Op, 37 was written from as early as 1799 to 1802-1803. His

first symphony Op. 21 was written in 1800 and symphony No. 2, op. 36, was completed

in 1802. The first twenty of his thirty three piano sonatas were composed in the eight

years leading up to 1802. Among these sonatas, the sonata in C minor “Pathetique”, Op.

13, was the first to use a slow, dramatic introduction. The sonata in E-flat and C-sharp

minor, Op. 27, No. 1 and 2 (the latter dubbed ‘Moonlight”), opened a path to the “fantasy

sonatas’ as Beethoven gave the title “Sonata quasi una Fantasia” to each of the two

sonatas. In the early Viennese period, Beethoven learned the tradition of Viennese style.

After this period, he begins to move in the direction of Romanticism by loosening and

extending the Classical design.

Beethoven’s hearing loss approximately began in 1796. He had several years of

inner conflicts and anxiety in the late 1790s to early 1800s. This was during his years of

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high productivity and creative accomplishments. The works of the late 1790s to early

1800s exhibit Beethoven’s mastery of the Classical style as well as clear signs that he was

in transitioning toward a radically new style. The first symptoms of deafness brought

panic to Beethoven. He sought out doctors who could relieve his pain and panic and

Beethoven turned to Johann Adam Schmidt shortly after mid-1801. Dr. Schmidt

recommended seclusion in the countryside as a relief from his busy, ordinary life.

Approximately in late April of 1802, Beethoven went to the quiet village of Heiligenstadt,

just north of Vienna, on the Danube, and remained there for about six months, an

unusually extended vacation for him.

He wrote the Heiligenstadt Testament to his two brothers on October 6th, 1802. In

this testament, Beethoven wrote about his fear of deafness, being left alone from the

society, and a symbolical farewell to his brothers. But he appreciated his art and looked

back at his life. This testament is very important in Beethoven’s life because it shows a

turning point that closed his first artistic period and opened up the new “heroic” middle

period. The progress of Beethoven’s deafness made it difficult to contact with the rest of

the world and fueled a feeling of painful isolation. But deafness did not hurt his art and

indeed, may have even heightened his abilities as a composer. He was freer to experiment

new forms and was not influenced by the external environment. Beethoven fought against

the deafness and was able to overcome his disability. Despite his hearing difficulty, he

completed his “heroic” style. There is a note on a leaf of sketches for the “Razumovsky”

quartet in 1806: “Let your deafness no longer be a secret – even in art.” His psychological

crisis of the Heiligenstadt Testament was followed by a period of reconstruction.

During his middle period (1803-1812), he produced an opera, an oratorio, a Mass,

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six symphonies, four concertos, five string quartets, three piano trios, a cello sonata, two

violin sonatas and six piano sonatas, as well as incidental music, many lieders, four sets

of piano variations, and several symphonic concert overtures. As early as 1804,

publications of Beethoven’s music were widely circulated and within a few years his

works were in such high demand that they appeared on concert programs more frequently

than those of Mozart and Haydn.

Abroad, his music became rapidly famous as well. Especially in England,

Beethoven gained his greatest popularity outside Austria. Beethoven wrote the variations

on “God Save the King,” WoO 78 and on “Rule Britannia,” WoO 79 in 1803. New

publications of Beethoven’s music continued to be issued at a very rapid rate. Between

the years 1803 and 1812, an average of almost eight new publications of his works

appeared annually, from publishers in Vienna, Bonn, Leipzig, and Zürich. In England, the

composer-publisher Muzio Clementi issued thirteen works by Beethoven in London in

1813.

In 1804, he settled on the libretto about the rescue of an imprisoned husband by

his loving wife from J. N. Bouilly’s French libretto Leonore; ou, l’amour conjugal. He

chose a libretto that had originated in post-Revolutionary France, and began to compose

an opera in the rescue opera genre, that was widely popular and originated in Paris. At

this time, he hoped to move to Paris because he had not yet been hired by a theater or

court, but Beethoven withdrew this idea and abandoned any plans for a concert tours to

Paris.

Beethoven decided to remain in Vienna after hearing the news in May 1804, that

Napoleon had proclaimed himself emperor of France. When Beethoven wrote his third

13

symphony, he had Bonaparte in mind. The symphony was retitled Eroica but it was first

titled Bonaparte. Napoleon was very much admired by important European intellectuals

and artists who were the leaders of the Enlightenment. It was during this time that

Beethoven’s music embodied the “heroic” style. It was a period of ideology and

revolution. The French Revolutionary music influenced Beethoven to create a

revolutionary, “heroic” music. The flexible structure of sonata form expanded to embrace

the “grand style” elements of French music. His “heroic” style was a combination of

these styles. In addition, Beethoven completed his first opera Leonore in June 1805 and it

was premiered on November 20 in that year. Beethoven revised the opera and it was

performed on March 29 and on April 10, 1806. It was finally completed in 1807 to the

public’s satisfaction.

The year 1807 and 1808 are an immensely prolific time for Beethoven. In

October 1808, King Jerome Bonaparte invited Beethoven to come to Kassel in

Westphalia as his Kapellmeister. Beethoven used this offer to raise his annual salary

which he was receiving from the nobilities of Vienna. The annuity agreement was dated

March 1, 1809. Beethoven had attained the highest degree of independence and security

from this income. In 1809, Napoleon’s armies sieged Vienna at the beginning of May.

Many public officials and nobilities left the capital and Beethoven took refuge in the

house where his brother Caspar Carl and his wife, Johanna lived. The death of his

physician, Johann Schmidt, on February 19 and of Haydn on May 31 in that year made

Beethoven more depressed. On October 14, Austria concluded a peace treaty with France

and Vienna gradually returned to relative normalcy.

Despite his somber mood that lasted several months, Beethoven was able to

14

compose a cluster of major works during the invasion of this year such as the Piano

Concerto in E-flat “Emperor”, Op. 73, the String Quartet in E-flat “Harp”, Op. 74 and

three Piano Sonatas Op. 78, 79, and 81a. In 1810, Beethoven’s productivity was slowing

down, from which his main completed works were the incidental music to Goethe’s

Egmont, Op. 84, and the String Quartet in F minor, Op. 95. The Violin Sonata in G major,

Op. 96, the tenth and the last of Beethoven’s sonatas for piano and violin was completed

in 1812 and published in 1816. This piece has pastoral characteristics and beautifully

closes Beethoven’s “heroic” middle period.

After the first performance of his Violin Sonata in G Major, Op. 96, on December

29, 1812, Beethoven’s creativity halted. He was in poor physical and mental condition,

and the illness of his brother Caspar Carl caused Beethoven great concern. This poor

condition continued until mid-1813. He composed songs and choral pieces but did not

complete any major work during 1813.

Beethoven began writing a new composition Wellington Victory, or the Battle of

Victoria, which celebrated a British victory over Napoleon in the Peninsular War. This

piece received sensational acclaim on December 8 and 12, 1813. Vienna’s leading

musicians participated in the performances of Wellington Victory: Hummel and

Kapellmeister Salieri played percussion, Schuppanzigh led violins, and Spohr, Mayseder

and others joined in the festivities.

During these concerts, Beethoven’s seventh symphony was premiered and

received enthusiastically by the audience. After the success of the premier, Beethoven

began to compose again at a high level of productivity, which lasted through the early

part of 1815. Beethoven was moving toward his late period with “patriotic” pieces which

15

were characterized by his “heroic” style, but utilized forms other than what was found in

Classical forms like sonata. Instead, he used forms such as the cantatas and the hymn

along with instrumental potpourris and medleys. Beethoven made his final version of

Leonore (Fidelio) in 1814 from February through mid-May. The new version was

considered a celebration of the victory over the Napoleonic wars.

Beethoven did not compose any symphonic works from 1812 until he wrote the

Ninth Symphony in 1824. His “heroic” style, that included serious and conflict-ridden

characters, faded out after the end of the Napoleonic wars. His late music would be

created out of the composer’s imagination and intellect. The birth and development of his

new late style was processed during the entire his last period. During this period,

Beethoven was rapidly becoming clinically deaf. His last public performance as a pianist

took place on January 25, 1815, when he accompanied the singer Franz Wild in a

performance of “Adelaide” for the Russian Empress.

After the death of Beethoven’s brother in 1815, Caspar Carl, he found himself in

a long trial against Johanna van Beethoven for the guardianship of his nephew, Karl

which proved to be a difficult procedure for the aging composer. Beethoven’s health

began to deteriorate in 1815. He ultimately developed cirrhosis of the liver, which was

accelerated by alcohol. Later in this period, Beethoven occupied himself more with his

works and became wholly possessed by his art. The autograph score of Missa Solemnis

was finished by mid-1823 and the Diabelli Variations by March or April of the same year.

The Ninth Symphony took Beethoven the entire year of 1823 and the first two months of

1824 to complete. The remainder of Beethoven’s life was devoted to the five String

Quartets, op. 127, 130, 131, 132 and 135.

16

During the winter of 1823-1824 Beethoven received an open letter from his

Viennese followers asking for the premieres of Missa Solemnis and the Ninth Symphony

in Vienna. This heartfelt letter was signed by thirty of the leading musicians, publishers,

and music lovers from Vienna. Instigated by this letter, a concert was arranged by the

academy on May 7, 1824, at the Kärntner Theater. The concert included the

“Consecration of the House” Overture, Op. 124, the Kyrie, Credo, and Agnus Dei of

Missa Solemnis, op. 123, and Symphony No. 9 in D minor, Op. 125. The concert was

repeated on May 23, with a slight change in programing. These concerts were the last

public concerts held for Beethoven’s benefit during his lifetime. Beethoven died on

March 26, 1827 late in the afternoon during a snowfall and thunderstorm.

Beethoven’s music from the last period did not abandon his reliance on the

Classical structures. He expanded them with freedom and created a more flexible

structure. During his last period, Beethoven explored counterpoint, polyphonic texture,

church modes, a pre-Classic richness of ornamentation, and variation procedures. He also

composed works with great lyricism in both his vocal and instrumental music. An die

ferne Geliebte Op. 98, composed in April 1816, heralded his lyricism of the last period

and it bid farewell to the “heroic” grandiosity.

Beethoven composed his last five piano sonatas from mid-1816 to the beginning

of 1822. In them, he first shows the fusion of fugue, variation form, and sonata form that

is fundamental of his new style. The cello sonatas Op. 102 of 1815 also have these

features. In 1817, he began to utilize the polyphonic principle as a rival of the sonata

principle. He completed a Fugue in D for String Quintet in that year, later published as

Op. 137.

17

Beethoven’s longest Piano Sonata in B-flat “Hämmerklavier”, Op. 106, from

1817-1818, has a fugue that constitutes the entire finale. Variation form joined fugue as

one of the leading features of his late style and they appear in many of his masterpieces

such as the Thirty-three Variations on a Waltz by Diabelli, Op. 120, 1823.

Beethoven also wrote the Missa Solemnis, Op. 123, 1819-1823 for his patron

Archduke Rudolph’s installation as archbishop of Olmütz in Moravia. He researched the

music of the Renaissance composers and Baroque composers such as Palestrina, Handel

and Bach, and used these older traditions in the sonata style for this piece. In his Ninth

Symphony in D minor, Op. 125, 1822-1824, he recollected his “heroic” style for its grand

manner and it became the prototype of nineteenth century Romantic symphony. This

piece has unprecedented spaciousness and grandeur with humanist message.

Beethoven’s last five String Quartets, Op. 127, 130, 131, 132, and 135,

commissioned by Prince Nikolas Galitzin in November 1822, were completed between

1825 and 1826. The original finale of Op. 130 was used as a separate piece and published

as “The Grosse Fugue” Op. 133. Schott’s Sons published Op. 127 in June 1826, but the

remaining quartets were published posthumously in 1827.

The Cello Sonata in F major Op. 5, No. 1

Prince Lichnowsky who was a major patron of Beethoven in Vienna arranged a

concert tour for Beethoven in February 1796. He departed for Prague, travelling with

Prince Lichnowsky.4 This concert tour was originally planned to last six weeks, but it

4 Prince Lichnowsky had arranged a concert tour for Mozart like Beethoven’s seven years before this tour.

18

lasted six months. Beethoven wrote from Prague to his brother Nikolaus Johann in

Vienna about his intention of visiting Dresden, Leipzig, and Berlin.

“I am well, very well. My art is winning me friends and respect, and what more do I want? And this time I shall make a good deal of money, I shall remain here for a few weeks longer and then travel to Dresden, Leipzig and Berlin.”

On March 11th, he gave a concert in Prague and on April 29th, he played for the

Elector of Saxony in Dresden. In Berlin, he played in the court of the King of Prussia,

Friedrich Wilhelm II, with the king’s employed cellist Jean-Louis Duport. The two Op. 5

cello sonatas were written for this performance. These two cello sonatas were dedicated

to King Friedrich Wilhelm II, who was an amateur cellist. The King gave Beethoven a

gold snuff box filled with louis d’ors. He later announced with pride, “But such a one as

it might have been customary to give to an ambassador.”5

He stayed in Berlin for a month and this tour proved to be very successful from

start to finish. In later years, he liked recalling his time in Berlin. In 1810, he told Bettina

Brentano that after he finished an improvisation at a Berlin Singakademie concert, “The

audience did not applaud, but came crowding round me weeping. That is not what we

artists wish for; we want applause.”6

Beethoven’s meeting with the King’s principal cellist, Jean-Louis Duport, was

another important event. He learned very much from Duport who was the world’s finest

cellist at that time. A few years later Duport summarized his ideas on cello technique in

his Essai sur le doigte du viloncelle et sur la conduit de l’archet, published in Paris.

Duport seemed to inspire Beethoven in writing these sonatas as he proved to be such a

5 Joseph Kerman and Alan Tyson (with Scott G. Burnham). “Beethoven, Ludwig Van” in Grove Music Online, http://www.oxfordmusiconline.com, accessed June 25, 2013. 6 Watson, 32.

19

talented cellist. Beethoven showed the excitement of working with a great cellist by

writing a prominent piano part in these sonatas, provably written for himself. The two

cello sonatas of Op. 5 were published in 1797 by the house of Artaria in Vienna who

published Beethoven’s earliest works from Op. 1 through Op. 8.

When the cello sonata Op. 5, No. 1 was written, in the early Vienna period

(1793-1799), Beethoven was in complete control of the Classical style and inserted his

individuality within it. In Bonn, Beethoven preferred variations more than the sonata

form. The sonata form was, generally known as, a specialty of the First Viennese School

composers, it was the right choice for Beethoven to come to Vienna since Vienna gave

him solid musical education.7

During this early Viennese period, Beethoven composed considerably less than in

the years preceding and following. He was preoccupied with revising his Bonn music to

reflect the Viennese standards. He started reworking his concertos and chamber music.

He was also a famous improviser and pianist, which were reflected in his piano passages

like short cadenzas. This short cadenza also appears in the introduction of his cello sonata

Op. 5, No. 1.

Beethoven’s two Op. 5 cello sonatas are cleaner Classical style than his later

sonatas since they were written in his first period. They have clear divisions between

parts and bright contrasts and characters. Motives are simple and light, and the rhythm is

regular. His Op. 69 cello sonata in A major was written in his middle period, in 1809 and

it is lyrical and long. It has more complex structure than Op. 5 sonatas and the melodies

are song-like and emotional. The last two Op. 102 sonatas were composed in 1815, in his

7 Ibid.

20

last period. The No. 1, C major sonata of Op. 102 is short and has two movements. It has

quick dynamic changes and unpredictable phrasing. The No. 2, D major sonata of Op.

102 has a slow movement which is the only slow movement of Beethoven’s five cello

sonatas. This movement is still and profound. The last movement of this sonata is a

fugato which Beethoven used a lot in his last period. These two Op. 102 sonatas show

freer approach to the technique and are very emotional.

Beethoven’s first cello sonata has tremendous originality.8 First, it is the first

true cello and piano duo sonata to be composed by anyone. Beethoven gave the cello

unprecedented equality with the piano for the first time. Second, the piano part was

completely and virtuosically composed, which was not customary in the cello sonatas in

the eighteenth century. Third, Beethoven made unusual and innovative formal

experiments, namely a two-movement structure with an extended introduction. However,

this formal organization had previously been done before. This may have been inspired

by Mozart’s violin sonatas in C major, K 303, and in G major, K 379, which are planned

similarly.9 Fourth, Beethoven developed cello technique in this piece. It has the high

technique of the cello no less than that of the modern cello pieces. While other Classical

composers did not fully utilize the cello,10 Beethoven elevated the cello to new musical

frontiers.

The playing time of this piece is about 21 minutes (Adagio sostenuto: 3’, Allegro:

11’, and Allegro vivace: 7’). 8 Watson, 31. 9 Ibid., 33. 10 Though, Haydn wrote two prominent cello concertos in C major (1761-5) and D major (1783) for Anton Kraft who was the first cellist in the orchestra of Esterhazy.

21

CHAPTER III

THE ANALYSIS OF BEETHOVEN’S CELLO SONATA IN F MAJOR OP. 5, NO. 1

The Analysis of the First Movement

Adagio sostenuto

The first movement of Beethoven’s cello sonata in F major Op. 5, No. 1, has a

long, slow introduction. Normally, an introduction functions as a preliminary musical

idea, but in this piece, it functions more as a slow movement because it is extensive and

has great expressiveness. The historical origin of a slow introduction is most likely from

the French Overture in which the principal Allegro was prefaced by a few bars in slow

time.11 The French Overture, employed by Robert Cambert (ca. 1628-1677) and Jean-

Baptiste Lully (1632-1687), consisted of a Grave tempo marking as an introduction,

usually ending on an Allegro on Canzona lines, and then a Minuet or other dance form for

the Finale.12

The primary function of using a slow introduction is to draw attention to some

special point of gravity or idea in the work that eventually follows. The slow introduction

of a sonata movement typically has solemnity, seriousness, and a strong sense of

anticipation.13 The formal and harmonic organization of a slow introduction is also loose

and free compared to other movements. It typically has a slow tempo, dotted rhythms,

instability of harmonic progression, minor modality, chromaticism, discontinuity, and

hesitant characteristics. Usually, it begins with the tonic harmony in the home key and

11 William H. Hadow, Sonata Form [London: Novello, 1896], 44. 12 Ibid., 9.

13 William E. Caplin, Classical Form [Oxford: Oxford University Press, 1998], 203.

22

finishes on the dominant chord of the home key to set up an expected tonic chord at the

start of the exposition. In this piece, the introduction starts in F major and finishes with a

half cadence in F major.

The introduction of this piece has 34 measures and includes a dramatic cadenza-

like passage in the piano (mm. 29-31). The key structure of the introduction is provided

in Figure 1.

Figure 1. Key Structure of the Introduction (Adagio sostenuto)

F major f minor F major m. 1 m. 11 m. 22

m.17 m.18 m.19 m.20 V

Tonicized Keys: b-flat, f, A-flat, b-flat, f

According to the key structure, this introduction is tripartite in form (mm. 1-10,

11-21, and 22-34). The first part is the tonic prolongation of the home key, F major. The

second part is predominantly in F minor, but tonicizes to B-flat minor, A-flat major, and

B-flat minor. This harmonically unstable central part of the introduction shows the sense

of uncertainty and serious tone. The whole section is passing to the dominant of the home

key, F major in the measure 22. The last part of the introduction stays in the dominant of

the home key to prepare the tonic of the main Allegro theme.

Now let us more to a closer examination of the motivic content of the

introduction. As Figure 2 shows, the introduction starts with scale degree five of F major,

C, in a thirty-second note gesture. The first five measures show a common presentation of

23

the melodic material. But the three voices move in heterophony14, since they use one

melody but are not exactly same. In this passage, the piano doubles the melody.

Figure 2. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 1-4

The hesitant and anticipatory character of the slow introduction is expressed by

the discontinuity of the melody. Both parts of the melody have rests after each of short

motive until measure five (see Figure 2). After this introductory passage, the cello plays a

lyrical sustained melody of one measure introduction material (m. 6) and four measures

of presentation material (mm. 7-10).

Figure 3. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 5- 10

14 In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations.

24

Contrasting to the unison melodies of the beginning (mm. 1-5), as we can see

from the Figure 3, the following passage (mm. 6-14) has a leading voice and a supportive

role. In measures 6-10, the cello plays the main melodic material and the piano plays an

accompaniment. Then, in the measures 11-14, the piano presents the main melody of the

measures 7-10. In the measures 6-10, the cello plays at a much higher register than the

piano accompaniment in order for the cello to clearly speak above the piano. This phrase

(mm.6-10) is the most prominent melody in the slow introduction. The phrase is an

extended tonic prolongation in the home key and continues through to the next passage

(mm. 11-14) where the piano plays the same melodic idea in F minor. Here, the cello

moves by step in a broken octave motion. (mm. 11-12, see Figure 4).

Figure 4. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 11-16 ┌broken octave

In the measures 17-19, a sequential harmonic process is played. The bass line of

the piano part moves up by step (B-flat, C, D-flat, E, F, G, and A-flat) and the cello plays

broken sixth chords moving up by step. This passage has a dramatic piano part which we

can find in Figure 5 and resolves on V of F major in measure 22.

25

Figure 5. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 17-22 ┌ 6th ┐ ┌6th┐ ┌6th┐ ┌6th┐

V/F

After measure 22, the rest of the introduction remains mostly in the dominant key

of F major. The pianist plays a short but brilliant cadenza in measures 29 -31.

Figure 6. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 29-31. (short cadenza passage)

According to Angus Watson, in his book Beethoven’s Chamber Music in Context,

26

the miniature cadenza is Beethoven’s signature at this time because of his great

improvisation skills. Beethoven liked to add improvisatory passages in his pieces.15 For

this short piano cadenza, the cello plays two long dotted half notes that accompany the

cadenza (see Figure 6). After the cadenza, a subito piano at measure 32 calms the

excitement of the cadenza to prepare for the Allegro. The introduction finishes quietly

with a half cadence in F major preparing for the beginning of the Allegro.

Allegro

The Allegro of Beethoven’s cello sonata in F major Op. 5, No. 1, was written in a

sonata form. Sonata form was developed as a response to the growing establishment of

the public concert, especially instrumental music16 in the eighteenth century.

Aesthetically, sonata form has flexibility, grace, balance, forward-driving characteristics

with symmetry, closure and the resolution of tension.17 Sonata form was transformed and

enlarged from several early eighteenth-century forms that include binary form, ternary

form, aria form, and ritornello form.18 The tonal organization of the sonata form is

similar to the binary form.19 By the time of Bach, most movements in binary form were

15 Watson, 34.

16 Charles Rosen, Sonata Forms [New York: Norton, 1988], 8. 17 James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the late Eighteenth-Century Sonata [Oxford: Oxford University Press, 2006], 15.

18 Ibid, 17. 19 Binary form features two sections, each repeated, the first usually moving from tonic

27

expanded into rounded binary form.20 Ternary form is also reflected in sonata form for

its three constitutions: exposition, development, and recapitulation, which create an ABA

structure.21 Larger themes and sectional expansions of sonata form22 developed and

enlarged the binary structure. Eventual enlargements to the structure, including slow

introductions and longer codas, have been utilized by composers. Each of the three parts

of the sonata form carries thematic and textural differentiation.

The theoretical terms and abbreviations for analyzing sonata form are provided

below.

to dominant and the second returning to tonic. (：I-V：V-I：) Binary form originated as a form for dances. AA’ or AB 20 In the rounded binary movement, the B section ends with a return of the opening

material of the A section in the tonic. A｛BA’｝

21 Ternary form is a three-part musical form and also called song form. The first and the third parts ‘A’ are musically identical, or very nearly so. Its constitution is ABA and the B section is often called ‘trio’. 22 Sonata form often has built-in repetitions of individual sections.

28

Table 1. Theoretical Terms and Abbreviations of Sonata Form

PAC Perfect Authentic Cadence. It is the harmonic conclusion of phrase that features

motion from V-I in root position. The upper voice ends on the scale degree one

above the tonic chord.

IAC Imperfect Authentic Cadence. It is similar to PAC except the upper voice ends on

scale degree three or five above the tonic chord.

HC Half Cadence. A cadence that ends on an active V chord.

DC Deceptive Cadence. V-vi or V followed by any non-tonic chord containing scale

degree 1. It occurs where an authentic cadence is expected.

MT Main Theme or Main Theme zone. It is the first and the most important theme in

a sonata movement. It introduces the tonic key and sets the emotional tone of the

whole piece.

TR Transition. It follows the Main Theme and is the energy-gaining section driving

toward the Medial Caesura and the Second Theme. There are two types of TR:

modulating TR or non-modulating TR. If it is a modulating TR, it modulates to

the secondary key second theme zone.

MC Medial Caesura. It is the mid-expositional break. It appears at the end of the

transition and is typically followed by the Secondary Theme zone. It is

commonly in the dominant key area. If the transition is modulating, the Medial

Caesura is built on the dominant of the secondary key area. If the transition is

non-modulating, it typically happens on V of the home key. Thus, most MCs

have a ‘dominant-arrival effect’ to prepare for the secondary theme zone.

29

Table 1-continued

S Secondary Theme zone. Responding to the MC, the secondary theme zone

launches the second phase of the exposition. The Secondary Theme zone is

always in a new key. If the Secondary Theme zone has multiple themes, half

cadences often appear between the themes. The important tonal purpose of the

exposition is to drive to and produce a Perfect Authentic Cadence (PAC) in a new

secondary key at the end of the secondary theme zone, most commonly a PAC of

V in major key, or a PAC of III or v in minor keys.

EEC Essential Expositional Closure. It is the first satisfactory Perfect Authentic

Cadence within the Secondary key. Producing the EEC is the main function of

the secondary theme zone.

C Closing zone or closing section. It follows the EEC and continues to the end of

the exposition. One or more additional cadences, such as a PAC, may follow

within the closing section. It may have closing themes, which may or may not

use the main thematic material, but will have a function of creating a closing

gesture.

RT Retransition. RT is a passage that generally leads to the return of the main theme

in the home key. It is a connective passage of preparation, usually leading to the

repeat of the exposition, the onset of the recapitulation. It is in the home key and

mostly finishes on the dominant for a resolution of the tonic in the home key of

the exposition or recapitulation.

30

Table 1-continued

Core The main sections of the development. In the development, it typically

projects an emotional quality of instability, restlessness and dramatic

conflict. Its dynamic level is usually forte and brings an increase in

rhythmic activity. Polyphonic devices such as imitation, canon, and fugal

passages can contribute to a further complexity of the musical texture. It

often models a fragment of previous themes in 4-8 measure passages as

well as utilizes sequences.

Pre-

Core

A calm and sensitive section before the core in the development section.

It is the initial part to the development and functions as an introduction

of the development. It prepares the dramatic and intensive drive of the

core.

ESC Essential Structural Closure. It is the first satisfactory PAC of the

secondary theme zone within the recapitulation. It is followed by the

closing section of the recapitulation. The ESC is normally the

recapitulation’s parallel point to the exposition’s EEC. Importantly, the

ESC is in the home key as a secondary theme zone of the recapitulation

has been transposed to the home key.

Coda A coda functions as the movement’s genuine conclusion and has a

temporal quality of “after-the-end”, since it follows the ESC. It is an

optional section in sonata-form movement. It gives an opportunity to

impart a circular design to the overall form by recalling main theme ideas

or the development section to shape a concluding dynamic curve that

31

differs from that of the recapitulation. The Coda tends to remain in the

home key, although various tonal regions may be briefly explored.

Note: These Terms and Abbreviations are all from the book Classical Form by William E. Caplin (PAC, IAC, HC, DC, MT, TR, S, C, RT, Core, Pre-core and Coda) and Elements of Sonata Theory: Norms, Types, and Deformations in the late Eighteenth-Century Sonata by James Hepokoski and Warren Darcy (MC, EEC and ESC).

Figure 7. Structure of the Sonata Form

Retransition Retransition Final Cadence

MC EEC MC ESC

MT TR , S C Pre-core, Core , MT TR ,S C

M: I V multiple key areas V - I I I m: i III multiple key areas V - i i i

(Exposition) (Development) (Recapitulation) (Coda)

A sonata has a dramatic plot that has a beginning, middle, and a generic

conclusion of resolution and confirmation. The tonal hierarchy of a sonata-form

movement is provided below.23

23 Caplin, 140.

32

Table 2. Tonal Hierarchy

Let us now explore the movement’s particular interactions with the sonata form

conventions I have just summarized. The Allegro of Beethoven’s cello sonata in F major

Op. 5, No. 1, is lively and sparkling, with a strong sense of forward motion.

Exposition

The three principal functions of the exposition in a sonata-form movement are

the main theme, transition and secondary theme zone. The harmonic task of the

exposition is to propose the initial tonic key and then move to and cadence in a secondary

key. As Figure 7 summarizes, in a major key, the most common secondary key in the

eighteenth-century was the dominant key. In a minor key, this was usually the key of the

mediant, although it is possible to find a modulation to the minor key’s dominant.

In the exposition, the main theme expresses the home key through cadential

closure. Likewise, a secondary theme occurring after the main theme confirms the

secondary key. Found between the first and second theme is the transition that helps

destabilize the home key and can modulates to the secondary key. The formal structure

and key structure of the exposition of Allegro of Beethoven’s cello sonata Op. 5, No. 1 is

provided below.

1. Home Key 2. Secondary Key 3. Development Keys 4. Tonicized Regions (no cadential confirmation) 5. Local Tonicizations

33

Table 3. Formal Structure of the Exposition of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1

Main theme mm. 35-57 Transition mm. 57-72 (Medial Caesura at m. 72) Secondary theme zone mm. 72-143 (EEC at m. 143) Closing section (including a retransition) mm. 143-160 (retransition: mm. 158-160)

Figure 8. Key Structure of the Exposition of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1

MT TR S C RT

F major C major F major Note 1: Tonicizations in the Secondary Theme Zone: C major (mm. 73-76), D minor (mm. 76-80), C major (mm. 81-88), D minor (mm. 88-92), C major (mm.92-97), C minor (mm. 97-103), C major (mm. 104-125), C minor (mm. 125-126), A-flat major (mm. 127-132), B-flat major (mm. 133-134), C major (mm. 135-143). Note 2: First Ending of the Retransition (mm. 158-160): F major, Second Ending of the Retransition: A major.

The main theme is normally tight-knit24. In the Classical period, the most

important main themes are tightly constructed and can be found as a sentence, period or

small ternary form.25 The main theme of the first movement of Beethoven’s cello sonata

in F major Op. 5, No. 1, is a sentence.

24 This term ‘tight-knit’ is used in the book Classical Form by W. E. Caplin. 25 Ibid., 71.

34

Figure 9. Sentence Structure

Sentence: basic idea + basic idea + continuation phrase+ cadential phrase* *A basic idea of a theme usually has melodic or rhythmic motives which constitutes the primary material of a theme. Continuation phrase of a sentence is the second phrase of the sentence. Cadential phrase of a sentence is the last phrase of the sentence. It has cadential progression to end the sentence.

As Figure 10 shows, each instrument presents the main theme of the exposition

over a steady, pulsating rhythmic accompaniment.

35

Figure 10. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 35-57. Main Theme (Sentence): basic idea (mm. 35-38) + basic idea (mm. 39-42) + continuation (mm. 43-46) + cadential (mm. 47-49: PAC)

┌Main theme: sentence (mm. 35-49) + repetition (mm. 49-57)

The piano plays the main theme first with sweet ornamentations over the cello’s

ostinato accompaniment. The second basic idea (mm. 39-42) is not exactly same with the

first basic idea but played a whole step lower (C→B-flat), which is one of the common

ways composers handle the basic idea repetition. Cadential progression (mm. 45-49: II6-

I-V7-I) of this main theme begins at the middle of the continuation phrase (m. 45) and it

is elaborated by a chromatic scale in the piano. The PAC of the main theme is elided with

beginning of cello’s repetition of main theme. From the measure 49, the cello repeats the

36

main theme. When the cello plays the main theme (mm. 49-57), the sentence has a

truncated second basic idea (basic idea: mm. 49-52 + basic idea: mm. 53-54) and

condensed continuation and cadential phrase (continuation + cadential: mm. 55-57). The

piano now plays an accompaniment for cello and it provides a lively and bouncy effect.

The motives of the basic idea of the main theme are used frequently throughout the entire

movement. They are used in the transitional sections as well as in the development.

The transition (mm. 57-72) begins right after the PAC of the main theme at the

measure 57. The transition is less tightly knit than the main theme. It destabilizes the

home key and features harmonic instability, a sequential progression, and an emphasis on

the dominant. It connects the home key to the new key of the secondary theme zone. The

transition can be categorized as non-modulating or modulating, and the harmonic goal of

a transition is normally toward the dominant key area. It frequently features passages

such as arpeggiations or scale patterns, not tuneful melodies and are typically

characterized by a significant increase in dynamic intensity and forward motion.

The transition of the exposition of this movement is non- modulating. Although

there are B-naturals found as passing tones within the transition,26 it remains in F major,

because the dominant arrival at the end of the transition is on C (V of F major). The

transition consists of arpeggiations and scales in the piano and a simple melody heard in

the cello. After the medial caesura27 of the transition at the measure 72, a lyrical

secondary theme is played (mm. 73-84, see Figure 11).

26 There is a G7 chord, a V/V in measure 64 which launches TR toward C major. 27 See p. 28.

37

Figure 11. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 70-80. Secondary theme (three phrase period): antecedent (mm. 73-76) + 1st

consequent (mm. 77-80) + 2nd consequent (mm. 81-84) ┌Secondary theme

The secondary theme contrasts the main theme by using a different key area and

a freer structural organization. The secondary theme zone ends with a PAC in the

secondary key and is almost always followed by a closing section. In most major key

sonata-form movements, the secondary theme is played in the dominant of the home key.

In this piece, the secondary theme is in C major. However, as we can see in

Figure 11, Beethoven used accidentals (♭VI: A♭-C-E♭) in the secondary theme which

creates sentimental and lyrical effect. The first chord of the secondary theme uses an A-

flat (♭VI of C major), though it cadences in C major (mm. 73-76) and the consequent

phrase of the secondary theme tonicizes to D minor (mm. 77-80). The structure of this

secondary theme is a three phrase period28 (antecedent phrase: mm. 73-76 (C major),

28 Period Structure: basic idea - contrasting idea (antecedent phrase: HC or IAC) + basic idea - contrasting idea (consequent phrase: PAC)

38

first consequent phrase: mm. 77-80 (wrong key: D minor), second consequent phrase: 81-

84 (fixed: C major))29. And the secondary theme is repeated in measures 85-107.

From the beginning of Beethoven’s compositional career as a composer, he tried

to find substitutes for the dominant in the classical tonic-dominant system. He used the

mediant or submediant in his pieces instead of the dominant (for example, in the

“Waldstein” sonata, “Hämmerklavier” sonata, Symphony Op. 9, or Quartet Op. 127 and

130).30 The secondary theme in this movement tonicizes to D minor which is minor

submediant of the home key. This tonicization of the minor mode adds an unexpected

minor key sentimentality to the secondary theme.

The entire secondary theme closes with a half cadence in C major in the measure

84. The basic idea of the first consequent is, however, not identical to the antecedent

phrase of the period, but is played one whole step higher (C→d, see Figure 11). The

second consequent of the secondary theme (mm. 81-84) are in C major and the repetition

of the secondary theme (mm. 85-107) is played. The repetition of the secondary theme

has the same three part periodic structure as the secondary theme, but the third phrase is

greatly expanded and altered upon its repetition in measures 93-107. The basic idea of the

each antecedent and the first consequent phrase of the repeated theme is ornamented by

neighboring tones (mm. 85-92, see Figure 12).

29 Antecedent phrase of a period is the first phrase of a period, containing a basic idea followed by a contrasting idea. It has a week cadence (HC or IAC). Consequent phrase is the second phrase of a period. It restates the basic idea from the antecedent phrase, followed by a contrasting idea. It has a strong cadence (PAC). 30 Charles Rosen. The Classical Style: Haydn, Mozart, Beethoven [London: Faber and Faber, 1971], 382.

39

Figure 12. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 81-92. Repetition of secondary theme: mm. 85-107 ┌second consequent of secondary theme┐┌repetition of the secondary theme

.

The third phrase (second consequent) of the repeated secondary theme in the

measures 93-107 is rhythmical and utilizes downward scales. It is played with soft

dynamics but is very lively (see Figure 13).

40

Figure 13. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 93-104 ┌third phrase (second consequent) of the repeated secondary theme

This passage creates a conversation between the piano and cello. The piano

elaborates the passage with fast scales, grace notes, and repetitions. After the IAC of this

section (m. 107), a lively melody is found in the piano (mm. 108-113, see Figure 14).

41

Figure 14. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 108-123 ┌sequential lively melody (mm. 108-113)

As Figure 14 shows, this melody is a sequential pattern with two downward

diatonic steps before a leap upward of a fourth and moving up (for example, m. 108: G, F,

E-A). It is played in C major and cadences on V of C major at measure 114. In the middle

of the passage, secondary dominants (V/ii-ii-V/iii-iii-V/IV-IV in measures 109-110)

elaborate the melody with unexpected accidentals. After this playful passage, three

measures of downward scales are found (mm. 114-116) and they are followed by a simple

melody in measure 117. The melody of this passage (mm. 117-124) has no distinct

motivic ideas to designate thematic material. After this, a passage to EEC is played (mm.

125-143). This transitional section tonicizes to C minor (m. 126), A-flat major (mm. 127-

132), B-flat major (mm. 133-134) and then back to C major (mm. 135-143). The PAC of

42

C major of this transitional section is marked by the EEC at measure 143 that is the first

satisfactory PAC of the secondary key in the exposition. This is the tonal turning point

that ends the secondary theme zone and begins the closing section (see Figure 15).

Figure 15. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 143-152. EEC: m. 143 (PAC of C major) ┌EEC: I/C major (PAC)

After the EEC, the closing section begins (mm. 143-160). Between measures 143

and 151, immediately following the EEC, a beautiful closing theme is played as we can

see in Figure 15. This closing theme is played in turns by the piano and cello. The theme

is in a periodic structure (antecedent: mm. 143-147 and consequent: 147-151) and the

consequent phrases finishes with a PAC (m. 151). After the closing theme, a dramatic

dynamic motion begins (mm. 151-160) toward the retransition (mm. 158-160) of the

exposition. This closing section once again confirms the secondary key, C major, and the

first ending of the retransition is played in F major. The first ending of the retransition

finishes with V7 chord of F major to prepare the tonic of the main theme and the second

43

ending of the retransition closes with a half cadence in A major that will start

development section (see Figure 16).

Figure 16. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 153-160

└ retransition. 1st ending: F major

2nd ending: A major (beginning key of the development)

Development

The development is the middle section of a sonata-form movement. A

development brings the greatest degree of unstable tonal and phrase structure to the

movement and thus, motivates a restoration of stability. A development features a freer

organization than its preceding section, sequential progressions in the multiple theme-like

units, avoidance of authentic cadential closure in the home key, and an ending in the

dominant key area. It emphasizes minor key tonality and consists of successive remote

modulations. Submediant, subdominant or supertonic key areas of the home key are often

44

used as developmental keys.31 A development usually feature pre-core and core units.

Pre-core units are an initial part of the development and functions as an introduction to

this section. It is soft and less active, and prepares the great emotional intensity of the

core. The pre-core is considered the calm before the storm.32 It sometimes uses the

exposition’s basic thematic material. The core of the development consists of themes or

fragments in an imitative contrapuntal texture. It also may often uses material from the

basic idea of the main theme. The core typically projects an emotional quality of

instability, restless, and dramatic conflict along with featuring a forte dynamic level. It

often features polyphonic devices such as imitation, canon, or fugal passages that can

further contribute to the complex texture. The core consists of a model and sequences,

and a model is usually 4-8 measures long. Sequences rapidly modulate. After the core, a

transition-like unit or secondary theme-like unit can appear. At the end of a development

usually comes a retransition that modulates back to the home key. The last chord of a

development is typically the dominant of the home key to prepare the main theme of the

recapitulation.

The development of the first movement of Beethoven’s cello sonata in F major

Op. 5, No. 1, has a wide range of structural instability, restlessness, minor tonality and

forward motion. The formal structure and the key structure of the development are

provided below.

31 Caplin, 141.

32 Ibid., 147.

45

Table 4. Formal Structure of the Development of the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1

Pre-core mm. 161-171 Core (model and sequence) mm. 172-187 (model: mm. 172-178, sequence:

mm. 178-187) Continuation mm. 188-194 Transition-like unit mm. 195-204 Theme-like unit mm. 205-216 Retransition mm. 217-220

Table 5. Key Structure and tonicized areas in the Development of the Allegro of

Beethoven’s Cello Sonata in F major, Op. 5, No. 1

Pre-Core (mm. 161-171) A major Core (mm. 172-187) A major (m. 172)

D minor (mm. 173-178) G minor (mm. 179-185) C minor (mm. 186-187)

Continuation (mm. 188-194) C minor (mm. 186-188) A-flat major (mm. 189-190) F minor (mm. 191-194)

Transition-like unit (mm. 195-204) F minor (mm. 195-204) Theme-like unit (mm. 205-216) D-flat major (mm. 205-210)

C minor (mm. 211-212) D minor (mm. 212-213) E minor (mm. 213-214) A minor (mm. 214-215) G minor (mm. 215-216) C major (m. 216)

Retransition (mm. 217–220) F major (mm. 217-220)

Beethoven often experimented with the mediant and submediant key areas that

contribute to a long-range dissonance against the tonic in the development.33 They

33 Rosen, 354.

46

provide the tension for a move towards a central climax. The first key area of the

development in the first movement of Beethoven’s cello sonata in F major Op. 5, No. 1 is

A major, the major mediant key of the home key.

As we can see in Figure 17, the pre-core (mm. 161-171), which opens the

development, uses the basic idea of the main theme from the exposition.

Figure 17. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 161-

169 ┌Pre-core: A major (mm. 161-171)

The character of the pre-core is normally quiet and hesitant. In this piece, the pre-

core is played with a soft dynamic and includes many rests that create a hesitant and

anticipatory feeling. Since the pre-core is considered the ‘calm before the storm’, a quiet

atmosphere is disrupted by the sudden forte of the core (mm. 172-187, see Figure 18).

47

Figure 18. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 171-179 ┌Core: model (mm. 172-178) + sequence (mm. 179-187)

The motives of the core come from the basic idea of the main theme (see the

cello part of Figure 18). It begins with the tonic of A major, but quickly modulates to D

minor in the next measure. Thus, the model of the core (mm. 172-178) is played in D

minor and finishes with the PAC in D minor at the measure 178. The sequence of the core

(mm. 178-187) starts simultaneously with the previous PAC, resulting in the first measure

of the sequence occurring on the tonic of D minor. The next measure of the sequence

modulates to G minor and remains in G minor. The core shows restlessness, forte

dynamic, and contrapuntal structure. The fragments of core model is played in the

measures 184-187. The continuation of the core (mm. 188-194) is still forte and restless.

The transition-like unit (mm. 195-204, see Figure 19) consists of repetitions of the

48

fragmentation of the core model (cello part: mm.196, 198, 200 and 202-203), which

originally came from the basic idea of the main theme. Figure 19 shows that fast broken

chords of the piano in this section are brilliant and dramatic.

Figure 19. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 195-204 ┌Transition-like unit (mm. 195-204)

This section is in F minor which is parallel minor of the home key. Beethoven

often used the parallel minor key for the development.34

The next section starts in the measure 205. It is a theme-like unit (mm. 205-216)

and starts in D-flat major (mm. 205-210) and then explores an ascending step sequence to

tonicize (mm. 211-216: C minor, D minor, E minor, A minor, G minor and C minor). The

34 Caplin, 141.

49

melody of this section is heard in the piano along with the cello’s long, D-flat

accompaniment. Soft chords in the piano freshly change the mood and calm the

restlessness from the core. The bass notes of this section starts with D-flat and rise by half

step (D-flat, D, E-flat, E, F, F-sharp, G, G-sharp, A, B-flat and B) that finally arrives on C,

which is the dominant of F major at measure 217. The retransition of the development

(mm. 217-220) is four measures in length, as Figure 20 shows. V7 of F major (mm. 219-

220) prepares the resolution of the main theme of the recapitulation.

Figure 20. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 217-

220 ┌Retransition of the development (mm. 217-220)

Recapitulation

The recapitulation brings back the earlier exposition in modified form. It creates

symmetry and balance to the movement by restating the thematic material of the

exposition. The most apparent difference from the exposition is that the secondary theme

zone in the recapitulation is in the home key. It finishes with a PAC in the home key. The

recapitulation can have ornamental changes (dynamic, instrumentation, register, texture,

or melodic embellishments) or structural changes (tonal-organization, melodic-motivic

material, or formal functions) from the exposition.

The recapitulation begins in the home key with the basic idea of the main theme

50

from the exposition. The main theme of the recapitulation has a sense of return and

functions as a resolution of the dominant at the end of the development. The transition of

the recapitulation also usually destabilizes the home key, similarly as it in the exposition,

except the transition in recap is usually modified not to modulate the secondary theme

and it provides freshness to the secondary theme when transposed to the home key. The

closing section of the recapitulation leads the secondary theme zone to the beginning of

the coda.

At the end of the recapitulation, many composers add a ‘coda’, which is an

Optional section. It has a quality of “after-the-end” and finishes with a PAC in the home

key. It functions as the movement’s genuine conclusion and remains in the home key

except a few brief tonicizations. The coda often has simple themes which reflect previous

ideas from the main theme or development material. Many of Beethoven’s codas have a

great dynamic curve. In the first movement of his cello sonata in F major op. 5, No, 1, the

coda is extended and delayed by an Adagio and Presto passages.

The recapitulation of the first movement of Beethoven’s cello sonata in F major

Op. 5, No 1, contains the main theme, transition, modified secondary theme zone, and an

extensive coda. The formal and key structure of the recapitulation is provided below.

Table 6. Formal Structure of the Recapitulation from the Allegro of Beethoven’s Cello

Sonata in F major, Op. 5, No. 1

Main theme mm. 221-232 Transition mm. 232-253 Secondary theme zone mm. 253-324 Closing section mm. 324-341 Coda mm. 342-400

51

Table 7. Key Structure and tonicized areas in the Recapitulation from the Allegro of Beethoven’s Cello Sonata in F major, Op. 5, No. 1

Main Theme (mm. 221-232) F major Transition (mm. 232-253) B-flat major (mm. 232-242)

G minor (mm. 243-245) F major (mm. 245-253)

Secondary theme Zone (mm 254-324) F major (mm. 254-257) G minor (mm. 257-261) F major (mm. 262-269) G minor (mm. 269-273) F major (mm. 274-307) D-flat major (mm. 308-312) C minor (mm. 313-314) E-flat major (mm. 314-315) F major (mm. 316-324)

Closing Section (mm. 324-341) F major (mm. 324-341) Coda (mm. 342-400) C major (mm. 342-343)

D minor (mm. 343-344) E-flat major (mm. 344-345) F major (mm. 345-350) C minor (mm. 350-351) B-flat major (mm. 352-353) G minor (mm. 353-356) F major (mm. 356-358) F minor (mm. 359-361) E-flat major (mm. 362-367) F major (mm. 367-400)

As Figure 22 shows, the main theme of the recapitulation (mm. 221-232) is

played by piano with more ornamentations compared to the exposition. The cello

maintains simple accompaniment.

52

Figure 21. Main Theme in the Recapitulaion (mm. 221-232)

Sentence: b. i. (mm. 221-224) - b. i. (mm. 225-228) - cont. + cad. (mm. 229-232)

Figure 22. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 221-232 ┌Main theme in the recapitulation (sentence: mm. 221-232)

The main theme of the recapitulation is a sentence like that of the exposition. The

first basic idea finishes with a half cadence (m. 224) and the second basic idea finishes

with a PAC (m. 228). A continuation and cadential phrase is played for four more

measures (mm. 229-232) and ends with a PAC in measure 232. The PAC in measure 228

has an appoggiatura that makes the cadence weaker. The more definite PAC at the end

of the main theme happens in measure 232. The recapitulation already starts to modify

53

and change the organization, instrumentation, and melodic embellishments by the

omission of the restatement and more ornamentations of the main theme. After the PAC

in measure 232, the transition is played through measure 253.

The transition in the recapitulation destabilizes the home key with modulations

and tonicizations.35 Compared to the non-modulating transition of the exposition, the

transition in the recapitulation tonicizes to modify the secondary theme in the home key

(B-flat major, G minor, and F major). At the beginning of the transition, the cello has the

main theme melody in F major (mm. 232-235),36 seemingly making the passage a

repetition of the main theme like the exposition. The transition of the recapitulation

finishes with V of F major at measure 253. The secondary theme (mm. 254-265, see

Figure 23) starts ♭VI of F major.

35 Tonicized region is shorter than modulation and has no cadential confirmation. 36 The first four measures of the transition uses four measure basic idea of the main theme. It is in F major, but the piano accompaniment begins to tonicize to B-flat in measure 233 by making F7 with E-flat rather than F.

54

Figure 23. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 253-267

┌Secondary theme in the recapitulation (mm.254-265)

The second theme in the recapitulation has the exactly same organization as in

the exposition. It is a three-part period with a repetition. The antecedent phrase is in F

major (mm. 254-257), the first consequent phrase is played in G minor (mm. 258-261)

and the second consequent phrase is again in F major (mm. 262-265). The basic idea of

the first consequent phrase is played a whole step higher than the antecedent phrase

(A♭→B♭). The secondary theme in the recapitulation finishes with a half cadence in F

major at measure 265 (see Figure 23). After the secondary theme, a repetition of the

secondary theme occurs as in the exposition (mm. 266-288). After the repetition of the

secondary theme, a sequential, lively melody is played by the piano between the measure

289 and 295 in F major (see Figure 24).

55

Figure 24. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 286-295

This playful melody is elaborated by secondary dominants (mm. 290-291: V/IV)

and changes the mood. This melody finishes on V7 of F major in measure 295. As in the

exposition, a downward scale is played for three measures (mm. 295-297) and continues

to a melodic passage in measure 298. This gentle melody (mm. 298-305) is played in F

major and emphasizes the home key.

After this passage, a transitional section is played to the ESC (m. 324). This

transitional section (mm. 306-324) starts in F major and tonicizes D-flat major, C minor,

E-flat major, before returning to F major. This transitional section has ascending and

descending scales as well as arpeggios. After the ESC at measure 324, the closing

section begins (mm. 324-341). The closing theme (mm. 324-332) is played in F major.

After the PAC of the closing theme at measure 332, the rest of the closing section has

two long crescendos and gains power into the Coda (see Figure 25).

56

Figure 25. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 337-342

┌Coda (mm. 342-400)

The coda (mm. 342-400) has two distinct sections which are Adagio and Presto

(see Figure 26 and 27). The coda begins in C major and tonicizes D minor, E-flat major, F

major, C minor, B-flat major, G minor, F major, and F minor before the Adagio section.

The melody of the coda uses the basic idea of the main theme. The Adagio section (mm.

362-367) is in E-flat major.

Figure 26. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 362-367

The Adagio of the coda reflects the slow introduction, as we can see in Figure 26.

It is soft and dreamy, but the sudden fast triplets break the mood at the beginning of the

Presto.

57

Figure 27. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 368-371

The Presto section confirms the home key of F major after many long

tonicizations. It has dynamic and powerful characteristics. After the sparkling Presto that

has fast scales and trills, at Tempo I, the last section of the movement starts with the main

theme’s basic idea (see Figure 28).

Figure 28. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 1st movement, mm. 380-391

Bouncy ostinato accompaniment of the piano makes the passage very rhythmical.

The repetitions of motives of the main theme provide unity until the end of the piece.

Tempo I makes a brilliant ending for the movement. The section is entirely in F major

58

and finishes with two powerful F major chords.

The Analysis of the Second Movement

Rondo Allegro vivace

In the Classical period, many rondo-form movements are written in sonata-rondo

form and composers allocated the sonata-rondo movement almost always at the fast, final

movements. The sonata-rondo form integrates features of the sonata form and the five-

part rondo form (ABACA) because the sonata-rondo form (ABACABA) has a tripartite

organization of exposition, development and recapitulation.

Table 8. The Structure of the Sonata-Rondo Form

Term Formal Function Tonal Region Refrain 1 (A) Exposition of the main theme I Couplet 1 (B) Exposition of the secondary theme

zone V

Refrain 2 (A) First return of the main theme I Couplet 2 (C) Development (or interior theme

zone) various

Refrain 3 (A) Recapitulation of the main theme I Couplet 3 (B) Recapitulation of the secondary

theme zone I

Refrain 4 (A) Coda (including final return of the main theme)

I

59

Table 9. Formal Structure of the Allegro vivace from Beethoven’s Cello Sonata in F major, Op. 5, No. 1

A mm. 1-24 B mm. 24-65 A mm. 66-75 C mm. 76-140 A mm. 141-167 B mm. 167-234

A (Coda) mm. 235-290

60

Table 10. Key Structure and tonicized areas in the Allegro vivace from Beethoven’s Cello Sonata in F major, Op. 5, No. 1 Refrain 1 (A) F major (mm. 1-14)

B-flat major (mm. 15-19) F major (mm. 19-24)

Couplet 1 (B) F major (mm. 24-25) G minor (mm. 25-27) F major (mm. 27-29) C major (mm. 29-59) A-flat major (mm. 60-63) F minor (m. 64-65)

Refrain 2 (A) F major (mm. 66-75) Couplet 2 (C) F minor (mm. 76-77)

D-flat major (mm. 78-80) B-flat minor (mm. 80-89) F minor (mm. 90-92) B-flat minor (mm. 93-97) F minor (mm. 98-100), A-flat major (mm. 101-102) B-flat minor (mm. 103-108, except measure 104: B-flat major) A-flat major (109-110) B-flat minor (mm. 111-116, except measure 112: B-flat major) G-flat major (mm. 117-122) D-flat major (mm. 122-128) F major (mm. 128-140)

Refrain 3 (A) F major (mm. 141-154) B-flat major (mm. 155-162) F major (mm. 163-167)

Couplet 3 (B) F major (mm. 167-200) C minor (mm. 201-202) D-flat major (mm. 203-209) B-flat minor (mm. 209-213) G-flat major (mm. 213-218) F minor (mm. 219-227) F major (mm. 228-234)

Refrain 4 (A) Coda

F major (mm. 235-290) Brief tonicizations (B-flat major: mm. 247-254, G minor: mm. 254-258 and D minor: mm. 270-273)

The second movement of Beethoven’s cello sonata in F major Op. 5, No. 1, is

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elegant and bouncy.

Figure 29. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 1-24 ┌Main theme: period (antecedent: mm. 1-4 and consequent: mm. 5-10)

The main theme of this movement is a ten-measure period. The antecedent

phrase of the main theme ends with an HC (m. 4) and the consequent, if it were

constructed in an exactly parallel manner, should end with a PAC (m. 8). However,

Beethoven extends the consequent phrase by repeating the contrasting idea such that the

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period-ending PAC is in measure 10. The melody of the main theme is light and elegant,

as we can see in Figure 29, and the consequent phrase is found in the piano.

Measures 11-24 are sentence structure, a second main theme idea (basic idea:

mm. 11-12 and 13-14, continuation and cadential: mm. 15-24). Thus this rondo

movement has a two-part main theme: a period and a sentence. Rhythmical motives are

played in turns by the cello and piano (mm. 11-14 and 15-18) and Refrain 1 finishes with

an HC in F major in measure 24.

Couplet 1 is relatable to the exposition of the secondary theme zone. This section

is more lyrical and calm compared to the main theme, and has many accidentals at the

beginning of the section (see Figure 30).

Figure 30. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 25-

35 ┌Couplet 1 (mm. 24-65)

Couplet 1 creates conversation between the cello and piano, which makes the

passage sweet and amusing. It has a PAC in measure 52 and rest of the section is

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transitional. The transitional section in measures 52-59 has chromatic scale patterns and

arpeggiated repetitions of a simple, two-note figure.

Figure 31. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 60-63 ┌False recapitulation (mm. 60-65)

As Figure 31 shows, the main theme is played in A-flat major between measures

60 - 65. But this section is a false recapitulation. It is not the main theme refrain because

it is not in the home key and it functions as a melodic retransition to Refrain 2.

Figure 32. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 64-76

┌Refrain 2 (mm. 66-75)

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Figure 32 shows that the refrain 2 (mm. 66-75) is now played in F major. It is an

incomplete refrain because the second part of the main theme, the sentence, has been

excised entirely.

The repetition of the contrasting idea (mm. 74-75) of the consequent phrase is

rapidly connected to Couplet 2 (mm. 76-140).

Couplet 2 functions as a development since it is a central section of the whole

sonata rondo. It is also called an interior theme zone.37 The beginning section of Couplet

2 (mm. 76-84) is a transition to the interior theme 1 (mm. 85-100). Beethoven starts this

section in the parallel minor key area (mm. 76-77). The passage then modulates to D-flat

major (mm. 78-80) and B-flat minor (mm. 81-84). The character of this transition is

passionate and rhythmic, and has sforzandos on the weak beats.

As we can find in Figure 33, the melody of the interior theme 1 (mm. 85-100) is

played alternately by the piano and the cello, and repeated identically (mm. 85-92 and

mm. 93-100).

37 Ibid., 234.

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Figure 33. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 83 – 94 ┌Interior theme 1(mm. 85-100)

This interior theme 1 features dynamic motion with repeated motives. The

motives are modifications of the basic idea. This theme is also passionate and functions

like a core in development of a sonata form movement. However, it cannot be a core

because it doesn’t have modulated sequences, but only has a repetition. The key of this

section is in B-flat minor and F minor, which are the minor subdominant and parallel

minor key of the home key. The subdominant key is one of common developmental keys

and parallel minor key was often used by Beethoven in his development sections.38

The material of this interior theme 1 is used in the transitional section between

two interior themes. This transitional section (mm. 101-116) can also be seen as a

38 Ibid., 141.

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continuation of the interior theme 1 because it consists of modulated fragmentations of

the interior theme 1. This section is first played in A-flat major, then B-flat minor. This

section is also repeated once with the same tonal organization. The emotional quality of

instability, restlessness, and dramatic conflict of this interior theme zone resolves at the

interior theme 2 (mm. 117-136, see Figure 34).

Figure 34. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 117-131

┌Interior theme 2 (mm. 117-136)

This interior theme 2 is more relaxed and quiet when compared to the dramatic

character of the interior theme 1. A soft dynamic level is rendered and the major tonality

relieves the minor key’s intensity of the previous section. As Figure 34 shows, in this

section, the cello has a passive role. It remains on the same note by providing the tonal

root. The piano has a hesitant character by playing in the high and low registers.

This interior theme 2 starts with the tonic triad of G-flat major and modulates to

D-flat major (m. 122) and to F major (m. 128). The retransitional passage (mm. 137-140,

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see Figure 35) after the interior theme 2 starts with a dominant triad of F major. This

passage has again repeated portions of the transitional section of Couplet 1 (mm. 52-59).

Figure 35. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 138-146 ┌Refrain 3 (mm. 141-167)

Refrain 3 (mm. 141-167) has a complete version of the main theme (period: mm.

141-150 and sentence: 151-167). The formal function of Refrain 3 is the recapitulation of

the main theme. As Figure 35 shows, the main theme of Refrain 3 has more elaborated

piano and cello parts than the refrain 1. This section is in F major (mm. 141-154) and

modulates to B-flat major (mm. 155-162). The last five measures of Refrain 3 are in the

home key (mm. 163-167).

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Figure 36. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 169-181 ┌Couplet 3 (mm. 167-234)

Couplet 3 (mm. 167-234, see Figure 36) is the recapitulation of the secondary

theme zone. The lyrical conversation between the cello and piano of Couplet 3 is

extended by six more measures than that of Couplet 1 by using repetitions. It has a PAC

in the home key at measure 197 while Couplet 1 has the PAC of the dominant key at

measure 52. Here we can see one of the unique features of the sonata-rondo form. In a

sonata-rondo form, the secondary theme of the recapitulation is transposed to the home

key versus its original dominant key in the exposition. The remainder of this section has

material from the interior theme 2.

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Figure 37. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 202-211 ┌Interior theme 2 of recap.

This passage (mm. 205-218) is the interior theme 2 of recapitulation. Prior to this

section, a short minor mode passage is played and it makes the major mode resolution in

measure 205 more effective (see Figure 37). The repetition of the A-flat in the cello part

brings more tension before the resolution. After this passage, the transitional section to

Refrain 4 (Coda) is played in F minor using fragments of the basic idea of the main theme

(see Figure 38).

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Figure 38. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 219 – 229 ┌Transitional section to Refrain 4

As Figure 38 shows, the transition has an agitated character with the piano

dynamic and the pitch registers of the fragments are continuously moving up until the

main theme of Refrain 4 begins. The expectation of the bright and brilliant arrival of the

main theme is satisfied with the main theme featured one octave higher at measure 235

(see Figure 39).

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Figure 39. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 234-243 ┌Refrain 4 (mm. 235-290) ┌octave passage

In this movement, the PAC of the main theme in the final refrain is emphasized

and delayed by the cello’s continuous octave passages (see Figure 39).

The coda (Refrain 4) continuously uses fragments of the main theme. The

sparkling character of these fragments constantly appears until the Adagio begins in

measure 281. In measures 268-280, a long rallentando and ritardando are played which

uses the material of the contrasting idea of the main theme. Like the first movement, the

Adagio passage appears for two measures (mm. 281-282, see Figure 40) and delays the

final forte passage of the end.

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Figure 40. Beethoven’s Sonata for Cello and Piano Op. 5, No. 1, 2nd movement, mm. 278-290

After the PAC of the Adagio (m. 283), Tempo primo (mm. 283-290) dynamically

brings the whole movement to the end. This passage also uses the motives of the basic

idea from the main theme. The whole piece ends with a PAC in F major.

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CHAPTER IV

THE PERFORMANCE EDITION OF BEETHOVEN’S CELLO SONATA

IN F MAJOR OP. 5, NO. 1

The Performance Edition Score

Performance Edition by JeeHyung Moon

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The Performance Guide for the Edition

Editorial Commentary

Since Beethoven’s Cello Sonata Op. 5, No. 1 was written in his first period, I

referred to various treatises about the information on musical style and performance in

the eighteenth-century for the performance edition. The cello in 1796, as an instrument,

was not same as the modern cello. The endpin of the cello, which is an essential part in

the modern cello, was not yet invented. Adrian François Servais (1807-1866) invented the

cello’s endpin around 1860. François Tourte (1747-1835) standardized the bow’s design

around 1785, which afforded string instruments greater volume, focus, and brilliance.

However, bowing technique using the Tourte model was not examined in detail until the

publishing of Méthod de Violon (1803) by Baillot, Rode, and Kreutzer.39 Tourte’s model

co-existed with the transitional bow and Baroque bow in 1796 and around 1810, the

Tourte model became widely used.40

During the Classical period, cellists still used gut strings. More reliable and

brilliant metal-wound strings were increasingly used towards the end of the eighteenth-

century. Cellists normally used uncovered gut for the upper two and silver or copper

wound gut for the lower two strings.41 There were also different performance practices in

the Classical period compared to modern style. Preference of soft and gentle sound,

messa di voce (crescendo-decrescendo of a note or one bow stroke), and rhythmic

alteration such as the lengthening of a dotted note, are recognizable characteristics of the

39 Howard Mayer Brown and Stanley Sadie. Performance Practice: Music After 1600 [New York: W. W. Norton, 1990], 240. 40 Ibid. 41 Ibid., 239.

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performance practice during the Classical era.

To play the Classical piece better, performance practice and specifics of the

instrument can be considered. The editorial method is categorized and explained below:

1. Fingering

Important elements I took into consideration when deciding fingerings were the

sound and how to easily phrase each melody. The fingering should not disturb the color

of the sound and phrasing. Specifically, in the cantabile passage, the same tone color

involving shifting up and down the same string is appropriate for the phrasing.42

Other elements such as intonation, rhythmic design, speed, and dynamics are also

considered in planning fingering. During fast sections, I chose to change strings to avoid

difficult shifts. There are passages that need extensions rather than shifts for a clean

execution. In doing this, two successive shifts were avoided.43 I tried not to break a fast

pattern of two or three conjoined notes with a shift as well as avoid excessive glissandi as

this piece is a refined, Classical piece.44 When there are two notes a perfect fifth apart on

different strings, I used the same finger (i. e. 1-1 or 2-2) regardless of the slur. When one

finger is used for these fifths, it is difficult to produce an expressive tone on each note, so

it should be rendered with care.45

2. Bowing

42 Maurice Eisenberg. Cello Playing of Today. [London: Lowe & Brydone, 1957], 81. 43 Paul Bazelaire. Scientific Instruction in the Violoncello. Translated by Mme. Henriette de Constant. [Paris: Durand, 1960], 57 – 58. 44 Ibid. 45 Eisenberg, 80.

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The important elements that are taken into consideration to make bowing were

the sound and phrasing similar to the fingering. Long cantabile passages need slurred

bowing without frequent bow changes and fast passages need effective short and separate

bowings. Good planning is needed in order to make the right bowing choices. Accented

notes should use a down-bow at the lower part of the stroke and up-beat notes are easier

when played with up-bows. Notes on the metric accents such as the first and third quarter

of 4/4 and the first and fourth eighth of 6/8 are played with a down-bow, especially

during the fast section because it is more reliable and rhythmical.

Various sections of the bow should be used to enhance the character of the music.

The tip should be used for lightness and grace and the lower portion for the heavier

sound.46 The cellist should always try to match the quality of his bowing to the style of

the composition. Classical-era commentaries generally advise performers to produce

sounds that are soft and sweet, and to avoid excessive loudness.47

In addition to the soft refined sound, messa di voce was a unique characteristic of

performance practice from the Classical period.48 Messa di voce means a note or bow

stroke with a crescendo-decrescendo. Leopold Mozart described it in A Treatise on the

Fundamental Principle of Violin Playing (1756).

Every tone, even the strongest attack, has a small, even if barely audible, softness at the beginning of the stroke; for it would otherwise be no tone but only an unpleasant and unintelligible noise. This same softness must be heard also at the

46 Barra Donald. The Dynamic Performance. [Englewood Cliffs: Prentice-Hall, 1983], 163. 47 Dennis Shrock. Performance Practices in the Classical Era. [Chicago: GIA Publications, 2011], 11 – 12. 48 Ibid., 155.

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end of each stroke. Begin the down stroke or up stroke with a pleasant softness; increase the tone by means of an imperceptible increase of pressure; let the greatest volume of tone occur in the middle of the bow, after which, moderate it by degrees by relaxing the pressure of the bow until at the end of the bow the tone dies completely away.49

At the time of Beethoven’s Cello Sonata Op. 5, No. 1 in 1796, the advanced

Tourte model bow was not widely used. Old model bows co-existed with the new Tourte

model. With the old fashioned bow, it may have been easier to play messa di voce style

instead of legato style. However, Beethoven thought legato was very important. Carl

Czerny (1791-1857), one of Beethoven’s students and a great pianist wrote in his letter:

Beethoven….insisted on legato technique, which was one of the unforgettable features of his playing; at that time (early 19th century) all other pianists considered that kind of legato unattainable, since the hammered, detached staccato technique of Mozart’s time was still fashionable.50

Beethoven’s performance of the Adagio and Legato was so great and praised. He

emphasized the importance of legato. Thus, with our modern instrument, we should try to

make more legato sound than messa di voce style in playing Beethoven’s piece. The slow

lyrical passages of his cello sonata must be played with fully sustained sound and with

slurred bowing. The bow must stay on the string when the stroke is changed and the

passage should be played without unnecessary accents.

In the fast section, the player must distinguish where to use détaché bowing or

spiccato. Détaché bowing technique means detached bowing and this bowing is normally

used for short separate bowings. Détaché bowing has purpose, decision, energy, strength,

49 Leopold Mozart. A Treatise on the Fundamental Principles of Violin Playing (1756).Translated by Editha Knocker. 2nd Edition. [Oxford: Oxford University Press, 1951], 97. 50 Shrock, 182.

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and punctuality.51 Spiccato bowing is also used in the fast section and this technique is

more fluent and lighter than détaché. Spiccato bowing has no constant accentuation and it

is easier when played close to the fingerboard with light sound.52

3. Tempo and Meter

There was a growing desire throughout the Classical period to determine tempos

with a reliable degree of specificity. Attempts were made before the invention of the

metronome in 1815 by Johann Nepomuk Mälzel (1772-1838) to find a fixed rate of speed.

Johann Joachim Quantz (1697-1773) suggested a means to designate tempos in his book,

On Playing the Flute (1752).

The means which I consider most useful as a guide for tempo is the more convenient because of the ease in which it is obtained, since everyone always has it upon himself. It is the pulse beat at the hand of a healthy person. 1. Allegro assai (including, Allegro di molto, presto, etc.): the time of a pulse

beat for each minim (half note). 2. Allegretto (including, Allegro ma non tanto, non troppo, non presto, moderato,

etc): a pulse beat for each crotchet (quarter note). 3. Adagio cantabile (including, Cantabile, Arioso, Larghetto, Soave, Dolce,

poco Andante, Affetuoso, Pomposo, Maestoso, adagio Spiritoso, etc.): a pulse beat for each quaver (eighth note).

4. Adagio Assai (including, Adagio pesante, Lento, Largo assai, Maesto, Grave, etc.): two pulse beats for each quaver (eighth note).53

Allegro assai is the fastest of these four main categories of tempi. Allegretto is

twice as slow as Allegro assai. Adagio cantabile is twice as slow as Allegro and Adagio

assai is twice as slow as Adagio cantabile.54

51 Bazelaire, 32. 52 Eisenberg, 45. 53 Johann Joachim Quantz. On Playing the Flute (1752). Translated by Edward R. Reilly. [Boston: Northeastern University Press, 2001], 393 – 395. 54 Ibid., 395.

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Since Quantz refers to the human pulse, we can assume that approximately eighty

pulse beats per minute was the standard. Therefore, metronome markings for these

tempos can be established as follow: Allegro assai: a half note = 80, Allegretto: a quarter

note = 80, Adagio cantabile: an eighth note = 80, and Adagio assai: a sixteenth note =

80.55

Besides, there were terms treated differently during the Classical era. Vivace, for

instance, is usually interpreted as faster than Allegro today, but during the Classical era, it

was comparable to Allegro or slower.56 Leopold Mozart described tempo terminology in

his book and I quote here specific tempi terminology of Leopold Mozart which is used in

Beethoven’s cello sonata Op. 5, No. 1.

Vivace means lively and it is between quick and slow, and musical composition before which these words are placed must show us the same in various aspects. Sostenuto means drawn out, or rather held back, and the melody not exaggerated. We must therefore in such cases use a serious, long, and sustained bowing, and keep the melody flowing smoothly. Allegro indicates cheerful, though not too hurried a tempo and Adagio means slow.57

If we consider that Leopard Mozart’s writing is common practice of that time, the

second movement of Beethoven’s cello sonata op. 5, No.1, Allegro vivace should not be

faster than the first movement, Allegro. Adagio sostenuto in the Classical period had same

meaning as the modern term, making the introduction of Beethoven’s cello sonata Op. 5,

No. 1 slow with sustained quality. In the Classical era, alla breve time also had different

meaning. According to Quantz:

55 Ibid., 400 – 402. 56 Shrock, 94. 57 Mozart, 50.

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In alla breve time, whether the tempo is fast or slow, it is always indicated with a large C with a line through it, all the notes in it are taken twice as fast as in common time.58

There is an alla breve section in the Allegro movement of Beethoven’s cello

sonata Op. 5, No. 1. Between measures 369-385, an alla breve time is indicated and

Beethoven marked Presto for this section, allowing this section to be faster than the

common tempo. For the composition to be performed in a fast tempo, called the allegro

style, there had to be a degree of separation between notes in the Classical style.59 Thus,

the notes in Allegro and Allegro vivace movement of Beethoven’s cello sonata Op. 5, No.

1 are played separately when there is no slur.

Leopold Mozart suggested that in the slow movements, there are certain passages

where the dot must be held rather longer than the notation suggested in order to avoid

sluggish performance. In such cases dotted notes must held somewhat longer, but the

time taken up by the extended value must be taken from the note standing after the dot.60

It is easy to speed through dotted notes, making it more appropriate to play the

subsequent note a bit late.61 Therefore, the dotted notes in the Adagio sostenuto

movement of Beethoven’s cello sonata Op. 5, No. 1 can be held long enough to sound

more classical and not hurried.

4. Vibrato and Articulation

58 Quantz, 395. 59 Shrock, 166. 60 Mozart, 41. 61 Ibid., 130.

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Vibrato was called the close shake or tremolo by musicians of the Classical

period. Leopold Mozart compared the vibrato to the trembling sound of a struck string or

bell and suggested that a closing note or any other sustained note may be decorated with

it.62 A slower, wider vibrato is often effective in broad legato passages, while a faster,

narrow vibrato provides a more brilliant, energetic tone. The player must try to alter the

speed and width of the vibrato to match the expressive implication of the music.63 Good

vibrato also requires continuity in changing fingers, changing strings, and changing

position.64 The fast movements as well as the slow movement of Beethoven’s cello

sonata Op. 5, No. 1 can be played with various types of vibrato to create a beautiful

melody and avoid dry sounds.

The articulation in the Beethoven’s cello sonata Op. 5, No. 1 must be clearly

rendered as the composer indicated and match the Classical style. The effect of the slur

and separated notes must be shown, and the difference between the staccato and normal,

separated notes must be heard. Good articulation and vibrato can give the music the

essence of elegance, clarity, and lightness.

5. Dynamics and Accentuation

As musical instruments have been developed, the general range of volume

increased. Now we know there was no endpin of the cello during the Classical period and

the piano at that time was also different from the modern instrument. The title of

Beethoven’s cello sonata Op. 5, on the first edition was Deux Grandes Sonates pour le

62 Ibid., 203 – 204. 63 Donald, 163. 64 Bazelaire, 22 – 23.

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Clavecin ou PianoForte avec un Violoncelle Obligé. Beethoven indicated that the piano

part can be played by a clavecin (harpsichord)65 or a pianoforte.

We can aware of the style and instruments of the Classical period and play the

piece with consideration. There are various kinds of dynamic in this piece from

pianissimo to fortissimo. There are also diverse expressions of accents. Beethoven wrote

sforzandos, fortepianos, sforzandissimos, sforzandopianos and accent marks on the notes

(>). The player must try to distinguish these markings with regard to the Classical style.

These marked accents are expressive accents, independent of the metric accents which

naturally occur every measure as in the first and fourth eighth note of 6/8 meter.66 The

accents, either printed or implied, must give the music life.

The First Movement

Various styles of bowing and vibrato are rendered in different sections in

Beethoven’s Sonata for Cello and Piano Op. 5, No. 1. The first Introduction is a slow

Adagio-sostenuto where soft bowing and warm vibrato is suitable. At the beginning,

however, very little vibrato could be used for the quiet and mysterious effect. The first

motive starts with 32nd note that should be played shortly with the middle part of the bow.

Up-bow seems more suitable for this note as it is followed by longer, slurred notes.

This motive finishes with a light and short eighth note, which should not be

accented on the bow. The first two motives are played exactly together with the piano.

65 The harpsichord was widely used in Renaissance and Baroque music. During the late 18th century it gradually disappeared from the musical scene with the rise of the fortepiano. But in the 20th century it was resurrected and used in historical performances of older music and in new compositions. 66 Ibid., 46.

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Both players can watch each other for accurate performance. The next part of the Adagio

sostenuto is mostly lyrical. In order to play this passage lyrically, dynamics must be

utilized. Although there are sudden changes such as sforzando or subito pianissimo, there

are also long crescendos and decrescendos. The weight of the right arm can be used to

execute these long dynamic changes. These long and slow dynamic changes should not

be sudden as this section is slow and sentimental.

In measures 7-8, the cello is very prominent with lyrically slurred melody. Extra

care is needed when the direction of the bow changes because the melody moves by step

and the phrase ends very lyrically in measure 10. In measures 11-12, staccatos are played.

These should not be too strong and should grow one by one because of the crescendo at

the beginning of measure 11.

This idea develops until the sforzando appears in the measure 13. Before this

sforzando, a small breath can be taken to create a clear articulation. This sforzando can be

rendered with a down-bow and can be gently and tenderly attacked. The next measure’s

subito pianissimo can be played without vibrato to intensify the quiet sound. The

staccatos and sforzandos in measure 17 are stronger than the sforzando in measure 13.

These three sforzandos are developmental and should be played with intensive strokes.

Therefore, the beginning of the measure can be played with an up-bow so a down-bow

can be used for the sforzandos.

The sforzandos in measure 18 are also very important as they are long and lyrical.

The pianissimo in measures 19-20 can be played with warm vibrato. There is also a long

crescendo and decrescendo on the syncopated notes in the next measure. The rhythm of

measure 22 must be exact as there is a sixteenth rest instead of a dot. This makes the

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phrase fresh and special. The following staccatos are not very strong and the bow stroke

should be light and soft.

The quarter note sforzando of measure 25 should sound warm and gentle, not

square. The following staccatos have thirty-second rests in between each note, which are

playful. The fortissimo of measure 27 is very sudden. The bow stroke is not very long but

very intense and strong. This should be played at the low part of the bow. The three

eighth notes of measure 28 can be played with all down bows as these notes are still

strong and eventually moves down to the important low C in the next measure. The

dotted half low “C” of measure 29 is very loud, so the bow can be changed once by using

a down and up-bow.

The chord in measure 30 is played as a smooth arpeggio. The double dotted

eighth notes and thirty-second notes of measure 31 can be played with one bow because

there is not enough time to change the bow for the thirty-second notes. The last phrase of

the introduction can be played at the upper part of the bow to create a soft and tender

character. No ritardando is needed for this last phrase. A suggested metronome marking

for the Adagio sostento is ♪ = ca. 66-70.

A breath should be taken between the Adagio sostenuto and the Allegro. While

the piano part has the main theme at the beginning of the Allegro, the cello repeates the

interval of a sixth, C-A, very lightly but not too shortly. Every note is played with

separate bow for this repeated passage to create the bouncy character. The cello should

not use too much bow for these short strokes that are off the string.

After the three measures of the repetitive passage, the phrase continues going up

by step until the B-flat in measure 39, where it sounds like a question. The bow stroke of

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this phrase should be smooth and light. The cello plays the main theme in measure 49.

This should not be too strong, but instead, should have a full sound to present the

important main theme. Bright and lively vibrato can be played on the “A” string at the

beginning of the theme.

The contrasting idea of the main theme at measure 51 is light and playful. The

staccatos of this motive can be played with a little accent at the middle of the bow. The

sforzandos of measures 54 and 55 need warm vibrato and smooth accents of the bow. The

fortepianos of measure 58, 60, and 62 are not square and should have a lot of vibrato at

the beginning of the notes. For an easier execution of the vibrato in these octaves, a

thumb and the third finger can be used. The accents of the beginning of these notes can

be rendered by vibrato as well as a gentle bow stroke to create the warm sound.

The contrast of the forte and piano should be clearly heard. In measures 64-65,

short breaths can be taken between the first and second beats. The triplets in measures 69-

70 should be very loud and quick. This should be played at the low part of the bow. The

triplet in measure 70 is even louder and it is played one octave higher. The following

quarters are strong and short.

The second theme beginning in measure 72 is sentimental and lyrical, which

requires a soft and poignant sound. A relaxed feeling is needed for the character of the

second theme. The sforzandos of the second theme are not very strong, but have an

operatic singing character. Fast and brilliant vibrato is needed for these notes. The first

and third staccato quarter notes of the contrasting idea from the second theme in

measures 75 and 79 can be played with up-bows for charming and operatic effect.

A graceful phrase is played between measures 81-84. Slurs and staccatos of this

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phrase can be played gently with the middle part of the bow because of the “dolce”

marking. Between measures 85-92, a modified repetition of the second theme is played

and the same character of the second theme can be applied. In measure 93, a long C

major passage starts and both instruments play very playfully and brightly. Although this

passage should be played with a light stroke because of its piano dynamic, the left hand

should have a strong articulation for the very playful descending scales. Long notes on C

are played in measures 98-100, and the bow should be saved because the notes last over

two measures.

The dynamic difference between the forte and fortissimo of the octaves in

measures 102-103 should be present and they must be accompanied by short accents on

each note. The sforzandos of the half notes in measures 105, 107 and 108 should sound

strong yet gentle. Big and warm arm vibrato can be played for these notes. The following

sixteenth notes in measures 106-107 are short and playful. Measure 113 can have a

decrescendo because the piano part has the decrescendo and the whole passage projects a

soft and sweet melody at measure 116. Another gentle passage begins in measure 116.

The slurred staccatos in measure 116 should be soft and tender along with the sforzandos

of following three measures being bright and gentle. The sforzando notes can be played

on the “A” string to produce a bright tone color. Staccato eighth notes in measures 121-

122 are playful yet must remain soft as they are accompaniment to the piano. The left

hand’s articulation of the eighth-notes in measures 123-124 is very important due to the

long slurs.

The pianissimo in measure 127 should be continued through measure 131 where

the crescendo begins. Long double stop notes between measures 130-133 can be played

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on the “A” and “D” strings, because it is much more efficient compared to using the “D”

and “G” strings. The left hand can move to the E-flat of the half position at the beginning

of measure 129. The sforzando in measure 133 is energetic and short. The bow stroke can

be attacked with an accent. There are eight more sforzandos following this measure,

which must also be attacked in this same character. The sforzandos in measures 137 and

138, however, must be performed with an up-bow because they are followed by longer

notes. The last sforzando in measure 141 is smoother than the previous sforzandos

because it is on a long note.

Following the long note in measure 141, a descending scale in eighth-notes is

played which must not be rushed. The bow stroke of the long note in measure 141 should

be saved in order to more easily execute the following staccato eighth notes. The

sforzandos in measures 147 and 149 are rather playful and not very strong because of the

presence of slurs. A small breath can be taken before these sforzandos to allow for a clean

sound.

A gentle crescendo is played from measure 151 to 153 and again from 155 to 157.

The bow should be fully lifted for the eighth rests between the notes in this passage. The

pressure of the bow strokes increase for the crescendo and should be gentle in order to

prepare the whole notes with sforzandissimos in measures 158-160. These measures

complete the exposition with the last whole note in measure 160 containing a fermata and

a piano dynamic. Therefore this final note, “E” of the second ending, should be long

enough to resolve and change the mood.

The beginning of the development contains the main theme in a new key that is

softly played by the piano. The cello accompanies the main theme in measure 164 with

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legato phrasing. A canon begins in measure 171 and the bow strokes should be intense

and clear to create a contrapuntal effect. The sound of this passage in measures 171-188

should be full and sustained for the powerful imitation.

The cello arpeggiates an E-flat major seventh chord in measure 189 and a C

major seventh chord in measure 191. These broken eighth-note chords are hard to play

because of the frequent use of fourth finger. This requires strong articulation in the left

hand. Short and very energetic bow strokes are helpful for these passages.

A long, gentle fortissimo whole note is played in measure 193 with wide and

warm vibrato. The following subito piano should be clean and calm. In measure 205, the

long D-flat accompanying the D major chords in the piano requires a special and different

tone color after the long, intense minor mode passage. The down-bow should be saved

until the end of the note because the slurred D-flat is over four measures in length.

A small crescendo-decrescendo motive is played for four times beginning in

measure 212. Four short crescendo-decrescendo motives are played each time, but the

whole passage is in a larger crescendo due to the rising pitch. The decrescendo after this

passage resolves to the pianissimo of measure 217. The calando note, a long “C”, in

measure 218 must use a saved bow for three measures.

The quarter note “F” after this long “C” in measure 221 can be played either on

D or G string, but should be played without a glissando to reduce the noise of the string

crossing. Excitement grows from the calm mood in measure 224. Staccatos are short and

energetic, and must be fully lifted for the eighth rests in measures 226 and 227.

The main theme melody beginning in measure 232 can be emphasized with more

weighted bow strokes. The passage between measures 236-246 has a lyrical singing

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character. This passage requires soft bow strokes and tender vibrato. Specifically, the

syncopated notes in measure 243-244 are not accented but should be legato. The

sforzandos in this passage must not be too square but sweet and warm. In measures 247

and 249, another difficult passage for left hand is played, which is similar to the passage

in measures 189 and 191. Articulation of the left hand is very important with a strong

fourth finger. The return of this passage must use slurs that require stronger articulation

for the clean treatment of the melody.

A modulated second theme begins in measure 253. Fast vibrato along with fast

and soft bow strokes is suitable for this passage in order to create a sentimental and

poignant sound. The dynamic of the whole passage is piano, which makes the sforzandos

of this passage weaker. In measures 262-264, the passage is playful but without accented

staccatos. The presence of dolce supports the gentle and playfulness of this passage.

Descending F major scales are found in the measure 275 and 277. The articulation of the

left hand is important to create a bright and playful feeling. In order to change the color

and mood of the two measure whole notes on F in measure 279-282, no vibrato or very

little vibrato can be used, also for the emphasis of the forte of the next two measures.

Ascending scales are played with energetic bow strokes in measures 287-288. The bow

strokes of the long “C” in measures 286-287 should be saved because it is difficult to

play the following sixteenth notes in the upper part of the bow.

As in measure 116 of the exposition, smooth slur staccatos are played in measure

297 and they are followed by three gentle sforzandos. To maintain the tone color, the

entire passage between measures 297-301 can be played on the “A” string because

frequent changes of the strings can disturb the phrasing. Bouncy staccatos are played in

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measures 302-303, which are connected to a slurred eighth notes passage in measures

304-305. These slurred eighth notes are very legato and should sing. Between

measures 314-321, eight sforzandos are played similarly to measures 133-141 in the

exposition. These sforzandos are very strong and short. The long “C” in measure 322

should be played with a saved bow in order to make the following staccato eighth notes

easier. The passage in measures 328-331 has a singing and playful character. A gentle

crescendo is used in measures 332-333 and 336-337 for to set up the fortissimo resolution

in measures 339-341. The performer should maintain a steady tempo during the passage

of measures 332-338 as it is easy to increase speed. The subito piano in measure 336

should be clearly heard to set up the large, forthcoming crescendo.

The three whole notes in measures 339, 340 and 341 begin the retransition before

the coda and are played with the weight in the right arm. The last note of these three

whole notes should be more emphasized because in the recapitulation, this note is unlike

the note of the retransition in measure 160 of the exposition. The quarter notes following

these three whole notes can be played with all down bows as they are strong and due to

the quarter rests, there is enough time to start at the frog each time.

After the fermata on “C” in measure 347, a short contrapuntal passage is played between

measures 347-353. The clear articulation of both the left hand and the bow strokes are

helpful to make a clear imitation. Staccato quarters between measures 354-357 are easy

to be slow down, so the player should keep the tempo carefully.

A slow and soft Adagio is played in measure 362 for six measures. Warm vibrato

and smooth bow strokes are suitable for this passage that has dynamic of piano. The

tempo of the Introduction can be used as this passage is a reflection of what was

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previously heard. However, a small amount of rubato can make this passage more

charming. The sudden tempo change of the Presto starts in measure 368. Triplet eighth

notes in both the piano and cello are heavily articulated and energetic.

A chromatic scale in measure 383 is very playful and excited, and connected to a

brilliant trill on “G”. The two grace notes after this trill from “F” to “G” are played

exactly with the piano part, requiring communications between both players to ensure

their accurate execution. The Tempo primo at measure 386 is played in Allegro and the

character is very confident. To create the bright sound, fast bow strokes are helpful.

Measure 392 can be played on the “A” string, with an open “A”. The last five measures

of the first movement are energetic but not square. This passage must be performed with

gentle but confident bow strokes. A suggested metronome marking for the Allegro is ♩ =

ca. 140-150.

The Second Movement

The main theme of the second movement is elegant and light. The short eighth

note triplet motive from the basic idea of the main theme is played frequently throughout

the movement. These staccato eighth note triplets are more bouncy if they are played far

off the strings. At the beginning of the Rondo Allegro vivace, the main theme is found in

the cello. This theme is rhythmical and playful containing lyrical motives that require the

bow strokes to express both the excitement and the tranquility.

The liveliness beginning in measures 1-2 should be played with short and with a

small amount of accented bow. The lyrical section in measures 3-4 can be played with

tender bow strokes. The staccato notes in measures 5-7 should not rush and use the

middle of the bow. A small crescendo-decrescendo in measures 9-10 is played softly. The

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eighth rests at the beginning of measures 11 and 13 should be exact as it is hard to count

these rests. Starting the grace note at the middle of the bow will help to execute this

difficult passage.

Sixteenth notes in measures 15-17 should sound very confident and this fast

passage can be performed with détaché bowing at the lower to middle part of the bow.

The staccato eighth notes in measures 20-23 are rhythmical and have equal weight. A

small amount of shaping can be applied to these four measures by using a small

crescendo and decrescendo with bow strokes that are off the strings. The sforzandos in

measures 25 and 29 are not very strong but can be effective with small accents and fast

vibrato.

The slurred triplets in measures 26, 27, and 30 can be played with fast bow

strokes to make the passage rhythmic. However, the slurred triplets in measure 35, 36,

and 37 can be played with slow bow strokes to make a long crescendo. This crescendo of

measures 35 and 36 is important due to the register of the melody and its ascension. The

sforzandos in measures 40-41 are very energetic and excited. These are played with

strong accents with fast bow strokes, which allow for an easier performance of this

rhythmical passage.

The phrases in measures 43-45 and 46-48 are question and answer phrases. The

character of question and answer phrases is expressed with bright vibrato and resolving

sound. The sixteenth notes in measures 50-51 are confident and energetic. The main

theme melody is played delicately and lightly by the piano in the high register beginning

in measure 60.

The elegant and light main theme is played in the home key by the cello from

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measures 66-75. Following are four sforzandos that are found in measures 79-80. They

are gently accented as these sforzandos are part of the slurs. But the sforzandos in

measures 82-83 are decisive and energetic, and can be played with fast and short bow

strokes.

The pizzicatos in the measure 85-88 and 93-96 should be played louder than its

soft dynamic in order to be heard against the piano part due to the already soft sound of

pizzicato compared to arco. The melodies of these phrases are played by the piano while

the cello makes a percussive effect with the stronger pizzicatos. The melody of these

phrases in measures 85-88 and 93-96 is played in turns by the cello in measures 89-92

and 97-100.

The entire melody can be played on the “A” string to maintain a consistent tone

color. The pizzicato passage in measures 101-108 is played more loudly because its

register is lower than in previous sections, making it difficult to be heard. The indication

col arco is the same as arco, which means play again with the bow. The col arco phrase

beginning in measure 108 is played with strong bow strokes and bright vibrato due to the

sforzandos in the melody.

The B-flat dotted half note in measure 113 can be played with a wider and

excited vibrato to create bright tone color. It is easy to make a crescendo on this note

because of the fortepiano found in the next measure. Thus the player needs to be careful

not to make a crescendo on this note. The fortepianos in measures 117 and 123 are gently

accented. Warm and grand accents are played at the low part of the bow for these

fortepianos.

The piano dynamic starts quickly after these gentle forte accents and are

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continued until the end of the phrase. The cello part remains quiet and relaxed on these

notes because the passage is played peacefully in a major key after a long section using

minor tonality. These long double stop notes between measures 117-129 do not require

much vibrato as the melody is in the piano. The main theme in measure 141 is again

elegant and bouncy except in this passage, slurred sixteenth notes are played for two

measures in the consequent phrase in measures 145-146. This passage is difficult because

the left hand position is shifting quickly and this passage has long slurs. Strong pressure

from the fingers is needed for the clean articulation. Sixteenth note passages with

separate bows always have a confident characteristic in this movement which appears

again in measures 151-154. This fortissimo passage can be played with the detached

bowing.

The same motive of measure 155 and 157 can be played on the “A” string with

an open “A” for the bright sound. After this motive, a long staccato passage is played

very playfully in measures 158-167. These staccatos are graceful and lively, which

should be played at the middle part of the bow. Short, but sweet vibrato can be used with

these elegant staccato bow strokes.

From the measure 167 to 197, similar passages to the measures 24 – 48 are found.

An arpeggiated F major triad is played in measures 199-200 and the notes of this broken

chord have difficult string crossings that should be interpreted with care. Short bow

strokes and short accents on every first note of the eighth notes can help cross the strings.

The repetitive A-flat sixteenth notes in the measures 203 and 204 should be on the string

and have no bounce.

The fortepianos of measures 205, 209 and 213, similar to measure 117, can have

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broad accents and the entire passage can be performed without much vibrato to create its

calm and relaxed character. Staccato triplets in measures 219-224 are very light, but have

an agitated character due to the rising pitch register. Eighth notes in measures 225-228

have a long crescendo to the high “C” in measure 229. Bright and clean sound is

appropriate for this passage because every triplet often leaps to the higher register.

Slurred eighth notes in measures 233-234 can be played with the middle part of

the bow for better control. The main theme in measure 235 is very soft and played

elegantly. The grand octave passage from measures 239-245 can be played with small

amount of the bow to prevent noise. These octaves can be played on the “G” and “D”

strings between measures 241-246, due to the difficulty of the high position on the “C”

and “G” strings. This passage is played loudly with a long crescendo. The rhythmical

passage of measures 247-267 should not rush and maintain the pulse of a dotted quarter

every time.

A big rallentando and ritardando are played in measures 269-280 before the

Adagio at measure 281. The ritardando in measures 278-280 is slower than the

rallentando in measures 269-277. These rallentando and ritardando can be processed

slowly and smoothly. The Adagio in measures 281-282 has a questioning character. The

last note of the Adagio can be played slightly shorter with less weight than the previous

note. The answer comes at the Tempo primo in measure 283 where the fragments of the

main theme are found in the piano and cello. Short staccatos are utilized in this section

and the last two chords of the piece are not very short and must ring. A suggested

metronome marking for the Rondo Allegro vivace is ♩. = ca. 110-120.

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CHAPTER V

CONCLUSION

Ludwig van Beethoven’s cello sonata in F major Op. 5, No. 1 is the first true

cello and piano duo sonata. Beethoven wrote this piece during his early Viennese period

in 1796 and showed his emerging maturity by innovative instrumentation and technical

virtuosity. This piece is, even now, one of the most prominent pieces in the cello music

repertoire. In comparison with other Classical composers such as Mozart and Haydn,

Beethoven gave the cello a more prominent role. He was the only composer who wrote

cello sonatas among the First Viennese School composers. Beethoven’s cello sonatas also

inspired the Romantic period’s composers to compose a great deal of cello music.

This piece has a slow introduction and two fast movements. The slow

introduction, Adagio sostenuto, is extensive and expressive. It has solemnity, seriousness,

a lyrical mood, and sense of anticipation. It also has a short piano cadenza that shows

Beethoven’s improvisatory style. The first movement, Allegro, is in the sonata form and

has an exposition, development, and recapitulation. The exposition has a simple and

lively main theme, non-modulating transition, and an extensive secondary theme zone.

The secondary theme zone of the piece has rich modulations and repetitions. The

melodies of the secondary theme zone are lyrical and sweet with some of them being

lively and rhythmical.

The development has a pre-core that uses the basic idea of the main theme from

the exposition and a core that is dramatic, restless, and has dynamic forward motion. The

recapitulation has a return of the main theme with more embellishments, a modulating

transition, and a modified secondary theme zone that remains in F major. The coda of the

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first movement is extensive and has two distinct sections, Adagio and Presto. The coda

dramatically finishes the movement with a PAC in F major.

The second movement, Allegro vivace, is in sonata-rondo form. It is colorful and

sparkling in character. It has seven sections (ABACABA) where the refrain and the

couplet are played in turns. The main theme of this movement is lively and rhythmical,

and the couplet themes are various in characters, which are sometimes beautiful and

gentle, but at other times dramatic and wild. The coda of this movement has a playful

coda theme and a short Adagio section. It finishes furiously.

The performance technique of this piece is varied. Modern cello techniques were

mostly used for each movement. Most notably, the position of the bow, the clean shifts of

the left hand, the weight control of the right arm, and the character of the vibrato are

important in this piece because of the wide range of dynamics and various timbres. Most

of all, diverse expressions of each passage and the consideration of Classical style are

important elements in a successful performance.

Beethoven left a momentous achievement and influence with his cello sonata in

F major Op. 5, No. 1. This piece has been played in many concerts and received attention

by many musicians and music lovers. However, I would hope that further research

regarding this sonata will continue and maintain its great reputation as well as more

performances to share the beauty and charm of this piece to a wider audience.

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APPENDIX. AUTOGRAPH SKETCHES AND TRANSCRIPTION

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