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Beethoven.org (15523B)

---

 #+title: The Beethoven Cello Sonatas
 #+author: Jamie Beardslee
 #+date: <2020-03-20 Fri>
 #+options: toc:nil date:nil num:nil ':yes
 
 #+begin_export html
 <p><b>Note:</b> This paper is also available as a  <a href="Beethoven.pdf">pdf</a></p>
 #+end_export
 
 #+name: version-and-paper
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 * Introduction
 
 As a cellist, I have played many pieces of varying style, difficulty,
 and genre.  In my opinion, the Beethoven sonatas for cello and piano
 are some of the greatest compositions that I've had the opportunity to
 perform.  I have always been curious about the circumstances under
 which Beethoven composed these sonatas and his motivations.
 
 After some cursory research about Beethoven, I discovered that his
 works are often divided into three distinct periods.  The cello
 sonatas happen to be a perfect example of these periods, so this is
 the topic I have decided to research.
 
 #+begin_abstract
 How and why did Beethoven's compositional style change throughout the
 course of writing his sonatas for cello and piano?
 #+end_abstract
 
 * Beethoven's development as a composer
 
 ** First period
 
 The first period of Beethoven's career as a composer is often called
 his "formative period", and extends to the year 1802.  Beethoven
 started composing at a very young age, and went to study composition
 in Bonn under Christian Gottlob Neefe around 1779[fn:1].  There, he
 wrote his first published compositions in 1783, at age 13.
 
 Beethoven's works from this period generally follow the strict
 traditions of Classical composition.  As a student, he was focused on
 the mastery of writing classical music in the Viennese style.
 
 Consider /Piano Sonata No. 1 in F Minor/, Op. 2.  Dedicated to Haydn,
 this early sonata illustrates Beethoven's focus on mastering and
 extending the typical Classical form of a sonata.  Compared to his
 later works, he seems to imitate the popular composers of the time
 such as Mozart:
 
 #+begin_quote
 The slow movement … well illustrates the rare cases in which Beethoven
 imitates Mozart to the detriment of his own proper richness of tone
 and thought.[fn:2]
 #+end_quote
 
 ** Middle period
 
 Beethoven's middle period, usually considered to span from 1802 to
 1812, marks a departure from the style of Mozart and Haydn.
 Coinciding with the beginning of the Romantic era, Beethoven's works
 from this era are increasingly more virtuosic and musically complex.
 
 In my own experience, these "middle period" works make use of
 extremely frequent key modulations, developing established themes
 within a piece, and a more frenetic style in general.
 
 A clear example of the middle period's modulations and dynamic changes
 is in the first movement of the /Kreutzer Violin Sonata/, Op. 47, bars
 194 to 214.  Beethoven starts with the main theme played /piano/ in A
 major, and modulates to G minor over a 2-bar crescendo to /forte/.
 Then, over another 4-bar crescendo, modulates to E-flat major, this
 time remaining /forte/.  Throughout these modulations, Beethoven
 alternates the main theme between the violin and piano parts
 repeatedly.  These modulations, everchanging dynamics, and
 conversation between the two parts are all put together to result in a
 piece of music that could only have been written by Beethoven.
 
 ** Third period
 
 By the third period, lasting from 1812 until his death in 1827,
 Beethoven had stopped performing and conducting due to his deafness,
 and--according to his own diary--distanced himself from his friends
 and colleagues.  Many of Beethoven's most innovative works were
 written during this time, including the /Große Fuge/ Op. 133, and the
 /Hammerklavier Piano Sonata No. 29/ Op. 106.
 
 Beethoven refined many of his signature techniques during this period,
 notably counterpoint and expanding themes.  He also developed a habit
 of linking movements of a piece together, without a break between
 them.  Many of Beethoven's pieces from this era were criticised
 because he no longer stuck so strictly to predefined Classical
 techniques.
 
 Many of Beethoven's larger works from this period were truly epic.
 The /Große Fuge/ was originally going to be the finale of /String Quartet
 No. 13 in B-flat major/ Op. 130, but was split into its own piece as
 the fugue was longer than the other five movements put together.
 
 * The Sonatas
 
 ** Sonata 1 in F Major and Sonata 2 in G Minor
 
 The first two sonatas (Opus 5 Nrs. 1 & 2) were written back to back in
 1796, while Beethoven was in the court of King Friedrich Wilhelm II in
 Berlin.  It is reported that "Beethoven composed the sonatas for
 Duport and himself to perform".[fn:3]
 
 The name "Duport" has led to some confusion, as there were two
 cellists with that name in the court of the king.  We now know that
 they were written for Jean Louis Duport, rather than his brother Jean
 Pierre Duport.[fn:4]
 
 *** F Major
 
 The first sonata in F major has a very "posh" feel, clearly influenced
 by the likes of Haydn and Mozart.  It uses a typical two-movement
 sonata form, starting with an /adagio/ introduction to an /allegro/
 first movement which develops the main themes, followed by an
 /allegro vivace/ third movement in rondo form.
 
 In this sonata, Beethoven made frequent use of arpeggios--a common
 characteristic of earlier classical music such as Haydn or Mozart.
 Consider this excerpt from bar 302 of the first movement:
 #+begin_src lilypond :file f-major-arpeggios.png :noweb yes
   <<version-and-paper>>
     \relative c {
       \key f \major
       \clef "bass"
       r8 c f a c f, a c |
       r8 d, g bf d g, bf d |
       e, g c e g e f g |
     }
 #+end_src
 
 #+RESULTS:
 [[file:f-major-arpeggios.png]]
 
 *** G Minor
 
 The G minor sonata is written in a distinctly Beethoven style.  It
 doesn't have the same posh sound as the F major sonata, but rather it
 is imbued with anger and indecision.  In my opinion, it doesn't feel
 as "Viennese" as the first sonata and works by Haydn or Mozart.  That
 said, Beethoven made extensive use of common Classical techniques such
 as imitation--repeating a theme in a different voice.
 
 Having studied this sonata countless times, I think that--in spite of
 being written in quite early in Beethoven's career--this piece is an
 indication of what was to come in Beethoven's middle period more so
 than an apt example of his early period.
 
 An excerpt from bar 67 of the first movement shows Beethoven's
 excessive use of staccatissimo accents, and abrupt dynamic changes--a
 trait of the middle period rather than the first:
 #+begin_src lilypond :file g-minor-outburst.png :noweb yes
   <<version-and-paper>>
     \relative c' {
       \key g \minor
       \time 3/4
       \clef "bass"
       r4 a\p\staccatissimo\< a\staccatissimo |
       bf2\>( d4) |
       r4\! d,\staccatissimo fs\staccatissimo |
       g4\f\staccatissimo d\staccatissimo bf'\staccatissimo |
       bf2( a8 g) |
       g4( fs) c'\staccatissimo |
     }
 #+end_src
 
 ** Sonata No. 3 in A Major
 
 The third sonata (Opus 69) was written in 1808, about a decade after
 the first two, and was dedicated to Baron Ignaz von Gleichenstein, a
 cellist, who played a part in securing a lifetime annuity for
 Beethoven[fn:1].
 
 This sonata, unlike the first two, is written in three movements.
 Unlike most three-movement sonatas, however, its middle movement is a
 scherzo.  This shows Beethoven's willingness to stray from common
 convention, as three-movement sonatas almost always have a fast
 movement, followed by a slow one, and an /allegro/ finale.
 
 Beethoven repeats certain motifs in different ways, which is a clear
 demonstration of his growing compositional maturity. Beethoven reworks
 the following theme numerous times:
 #+begin_src lilypond :file a-major-theme.png :noweb yes
   <<version-and-paper>>
     \relative c {
       \clef "bass"
       \key a \major
       \tempo "Allegro ma non tanto"
       a2_\markup{\dynamic p dolce}( e') | \bar ".|:"
       fs2.( cs4 |
       e4 d cs d8 b) |
       a2( gs4) e( |
       a fs cs ds) |
       e1
     }
 #+end_src
 An example of this is in bar 51, where the theme is inverted:
 #+begin_src lilypond :file a-major-var1.png :noweb yes
   <<version-and-paper>>
     \relative c' {
       \clef "bass"
       \key a \major
       b2( gs) |
       e2. b4~ |
       b4 b( gs e8 gs) |
       b2. r4 |
     }
 #+end_src
 
 ** Sonata No. 4 in C Major and Sonata No. 5 in D Major
 
 The composition of Beethoven's final cello sonatas (Opus 102, Nrs. 1
 & 2) began in spring of 1815, another seven years after the previous
 cello sonata.  In summer and autumn of 1815, Beethoven created first
 versions of both sonatas, which he revised throughout the year[fn:4].
 The two sonatas were published together by N. Simrock in late 1817 or
 early 1818, with a dedication to Countess Marie von Erdődy.
 
 These two sonatas never became as popular as the others, and critics
 of the time were sceptical about them.  The following is an excerpt
 from German periodical /Allgemeine musikalische Zeitung/ regarding
 Beethoven's final cello sonatas:
 #+begin_quote
 They elicit the most unexpected and unusual reactions, not only by
 their form but by the use of the piano as well... We have never been
 able to warm up to the two sonatas; but these compositions are perhaps
 a necessary link in the chain of Beethoven's works in order to lead us
 there where the steady hand of the maestro wanted to lead us.[fn:5]
 #+end_quote
 
 *** C Major
 
 Beethoven's C major cello sonata is quite a bit shorter than the
 others, and consists of two movements--both /allegro/ with a slow
 introduction.  This differs from most conventional sonatas, as a
 finale movement typically doesn't have an introduction, which shows
 Beethoven's willingness to ignore the traditional structure of the
 sonata.
 
 For me, this sonata is a demonstration of the anger Beethoven had
 built up over the years due to his deafness and isolation.  The first
 movement starts with a gentle, somewhat dainty theme:
 #+begin_src lilypond :file c-major-intro.png :noweb yes
   <<version-and-paper>>
     \relative c' {
       \clef "tenor"
       \key c \major
       \time 6/8
       \tempo "Andante"
       c8_\markup{\dynamic p "dolce cantabile"}^"teneramente"( b a g4 a16 b |
       c d e c g'\staccatissimo) g g8( f d) |
     }
 #+end_src
 
 The introduction to the first movement largely resembles this first
 theme, never reaching a dynamic above /piano/ apart from phrasing
 crescendi.  But the true nature of this movement is revealed at the
 transition from the introduction to the *Allegro vivace* section:
 
 #+begin_src lilypond :file c-major-allegro.png :noweb yes
   <<version-and-paper>>
     \relative c, {
       \clef "bass"
       \key c \major
       \time 2/2 \tempo "Allegro vivace"
       \partial 4 e'4\staccatissimo\ff^"arco" \bar ".|:"
       a4.\sf b8 c4.\sf d8 |
       e2\sf~ e8[ r16 d c8 r16 b] |
       a8[ r16 f e8 r16 d] c8[ r16 b a8 r16 b16] |
     }
 #+end_src
 
 Accompanied by a dramatic increase in dynamic from /piano/ to
 /fortissimo/, the immediate modulation to A minor--the relative
 minor--invokes a sense of desperation and anger.  This is one of the
 defining characteristics of Beethoven's music, and it mimics a similar
 transition in the G minor sonata.
 
 *** D Major
 
 The final cello sonata, written in D major as three movements, seems
 at first glance to return to the canonical sonata template.  The
 second and third movements are linked with a fermata, which is a
 feature that Beethoven often included in his later compositions.
 
 The final movement, a fugue, is reminiscent of some of Beethoven's
 later works such as the last string quartets, and the Hammerklavier
 piano sonata.  Beethoven's obsession with counterpoint is a
 characteristic trait of his third period, and is demonstrated in this
 final movement.
 
 * Conclusion
 
 ** Are Beethoven's periods reflected in these sonatas?
 
 I think that these cello sonatas, with the possible exception of the
 second sonata in G minor, are indeed good examples of Beethoven's
 shift to a more avant-garde style in his later years.
 
 Although the G minor sonata (Op. 5 Nr. 2) was written in Beethoven's
 early period, it demonstrates the temperament that we expect in his
 later works.  This is unlike most classical music of the late 1700s,
 and in my opinion evidence of Beethoven's individuality as a composer.
 
 Haydn's influence shows itself evidently in Beethoven's first cello
 sonata in F major (Op. 5 Nr. 1), like many works from Beethoven's
 first period.
 
 Beethoven's final two cello sonatas show the trend of adjusting and
 extending existing techniques, leading to a more avant-garde style in
 general.
 
 ** Why did these changes happen?
 
 Beethoven's deafness played a big part in his stylistic and
 compositional evolution.  His ailment caused him to seek out a
 solitary life in his final years, without which I don't think we would
 have many of Beethoven's greatest compositions.  Utterly depressed in
 his final years, he wrote the following:
 
 #+begin_quote
 I must confess that I lead a miserable life. For almost two years, I
 have ceased to attend any social functions, just because I find it
 impossible to say to people, ‘I am deaf.’ If I had any other
 profession, I might be able to cope with my infirmity; but in my
 profession, it is a terrible handicap.
 #+end_quote
 
 #+attr_latex: :float wrap :width 5cm :caption \emph{Wanderer Above the Sea of Fog}
 [[file:friedrich.jpg]]
 
 Beethoven's development to a more personal and agitated mode of
 expression is indicitave of a more general change in art--the Romantic
 era.  Beethoven's later compositions can be compared to German art of
 the same era--Caspar David Friedrich's 1818 painting /Wanderer Above
 the Sea of Fog/ comes to mind.
 
 In my opinion, this painting is an excellent companion to Beethoven's
 agitated later music--both convey a similar sense of vastness and
 tumult.
 
 Much of Beethoven's early music is written in the style of his
 teachers and contemporaries, but his greatness exceeded the confines
 of the music du jour.  I believe this is why he developed his own
 unique style so much more thoroughly than most composers of the same
 period.
 
 ** Legacy
 
 Beethoven is now known as one of the greatest and most revolutionary
 composers of all time.  In 1963, Stravinsky described Beethoven's
 /Große Fuge/ (Op. 133) as "an absolutely contemporary piece of music
 that will be contemporary forever."  His innovations brought on the
 Romantic era of classical music, and some of his later works predicted
 the evolution of contemporary classical music to an unbelievable
 degree.
 
 * Bibliography
 
 - /The Three Periods of Beethoven/ (n.d.).  Retrieved from:
   https://lcsproductions.net
 
 - /So if Beethoven was completely deaf, how did he compose?/ (2019).
   retrieved from: https://classicfm.com
 
 - Wilson, K. (2015). /My Man Ludwig Van - The Tortured Genius of
   Beethoven/.  Retrieved from: https://litreactor.com
 
 - Lenz, W. (1852). /Beethoven et ses trois styles/.  Retrieved from:
   https://imslp.org
 
 * Footnotes
 
 [fn:5] Jean and Brigitte Massin (trans), /Ludwig van Beethoven/,
 Fayard, 1967
 
 [fn:4] Jens Dufner, /Sonatas for Piano and Violoncello/, G. Henle
 Verlag, 2008
 
 [fn:3] Franz Gerhard Wegeler/Ferdinand Ries, /Biographische Notizen
 über Ludwig van Beethoven/, Koblenz, 1838, p. 109
 
 [fn:2] Donald Tovey, /Encyclopædia Britannica Eleventh Edition/, 1910
 
 [fn:1] A. W. Thayer, /The Life of Ludwig Van Beethoven, Vol 1/, The
 Beethoven Association, 1921