Bonus Post: Beethoven's "Appasionata"

I felt like doing a short little analysis of Beethoven’s “Appassionata” Sonata, First Movement. Here goes…

(The video I will be referring to)

Neapolitan Harmony in the First Theme

The first theme, looming arpeggios followed by an appoggiatura, is unique in its bareness. However, Beethoven also uses one of the tricks he had up his sleeve: Neapolitan harmony. In music theory, the neapolitan is the chord made when you lower the second note in the scale by a half step. So in F Minor, the neapolitan is G-flat major. Directly after the theme is stated in F Minor, it is stated in G-flat major. Beethoven defies the precedent set by Mozart and Haydn that the first few bars should establish the key. He also uses this “trick” in Razumovsky No. 2, another one of his earlier “Heroic” period pieces.

Second Theme

The second theme is particularly interesting. Firstly, it has the same melodic contour as the first theme, which is rather unusual for conventional Sonata Form. Secondly, it always occurs as a preparation for the movement’s most dramatic outbursts. It’s subdued comfort never lasts for more than a few bars, always spiraling out into dissonant chords. It also never maintains the same character each time it is played. Thus, I call it the “unstable” theme. It occurs 5 times in the movement:

(1:34, 4:34, 7:14, 8:45, 10:03)

We can even go so far as to say Beethoven meant for the second and first themes to be one and the same. For when the second theme played in the coda, it sheds itself of all its comfort, becoming a frantic gallop against fate. This “unstable” theme finally shows its true nature; it does not contrast the first theme at all, but rather is an extension of its grave misery.

Fate Motif

It is commonly known that Beethoven uses the same “short short short long” motif in his fifth symphony as the “Appassionata” sonata. It occurs very early in the movement, transforming itself in very pivotal moments. The small little “knock at the door” at 0:29 suddenly gains enough force to break the door of its hinges at (5:24). The most telling use of the motif, however, comes right before the piu allegro section of the coda (9:39). It’s just the bare motif, played in a gradual ritardando. The last time it is played, Beethoven puts obsessive dynamic markings on: a small crescendo, only on those 4 notes, from pianissimo to piano. When pianists execute it properly, it’s magical. It’s a tiny swell, a tiny anticipation of what is to come. For right after, the rhythmic figure is hammered out in fortissimo cadential chords, followed by the tragic transformation of the second theme as discussed above. It’s extremely paradoxical when compared with the fifth symphony, where this fate motif is obviously answered by triumph. Perhaps the transition from “Appassionata” to his Fifth represents a change in attitude (although it’s not clear which piece was truly written first).

The Trill

Right from the beginning, Beethoven uses these trills followed by appoggiaturas, which are a principal motivic idea throughout the movement. These trills occur atop tense chords, occurring right before a resolution. For this reason, they always sound restless and uneasy. There’s just something about them that reminds me of a harsh breeze rustling the trees in the night. I also believe that the sixteenth notes accompanying intense passages are an extension of these trills. The best case I can make for this is the passage at 3:31. This sudden eruption (one of my favorite moments in the movement), is preceded by a few bars where the only motivic idea present is the trill. It’s as if the small yet piercing breeze transforms itself into a hurricane.

All in all, this piece is cool. Maybe I’ll elaborate upon this post sometime!