The harmonic and dynamic intensity finally explodes at bar 67 as the rhythmic motif from the first subject is reintroduced by the piano which is then imitated by the cello. The Sonatas for cello and piano No. This sense of anxiety and intensity is further achieved through the piano part. By bar 23 the dialogue comes to an end as Beethoven creates a moment of “fantasia” in the piano through the descending arpeggiated G dominant seventh chord in the left hand. A detailed guide that analyzes the structural, harmonic and thematic frame. Create a free website or blog at WordPress.com. Largo con Gran Espressione 3. The exchange of melodies between both parts continues throughout the introduction and the opening theme is restated by the cello in bar 16 following a G pedal from the piano. He then surprises the audience again as he restates the first subject finally in the tonic key of C Major in the development. The first subject is introduced in a more lyrical but still menacing manner by the cello as it is sequenced until the fourth last bar where it all erupts once for the final time. The continuous changing of texture and the rapid exchange of melodies between the cello and piano make it very difficult to blend and unify the sound for both instruments. This moment of tranquillity is put to a halt once more in bar 46 as Beethoven then begins to create tension and suspense as the passage resolves to E minor. 1, and No. External links. Beethoven Piano Sonata No.4 in Eb major, Op.7 Analysis. 69, mvmt. Cello Sonata No. Beethoven & his Sonata for Piano and Cello No.4 Op.102 No.1. There is a sense of instability as the tonality is rather ambiguous due to rapid changes in the harmony. The dialogue between both voices continues throughout the Introduction and through the use of dominant seventh chords, Beethoven is able to create space as he takes time to resolve them through the use of fermatas, for example in bars 5 and and 10. These were among the first works of his final period, often called the period of “reflection.”. Even though he begins the introduction in the tonic of C Major, there are many tonal diversions such as the main motif in the Allegro Vivace begins in the relative minor (A minor) before modulating to G Major and then E minor. 69, was written in 1808-09, just following his Symphony no. This stark contrast is further reinforced by Beethoven as he introduces the main motif in the relative minor (A minor) with both parts playing fortissimo with szforzandos. 102 were the only major works Beethoven produced that year. By then utilising canonic imitation over a dominant pedal (E), Beethoven is able to maintain intensity before abruptly finishing the phrase with a diminshed seventh chord. Title Freje Sonate ; Free Sonata Composer Beethoven, Ludwig van: Opus/Catalogue Number Op./Cat. Both movements begin with an introduction which present key thematic materials. An Analysis of Beethoven s Sonata for Cello and Piano in A major, Op. Beethoven- Sonata for Cello and Piano No.4 in C Major Op.102 No.1 – Waynne Kwon. It is evident as to why it was received as so complex and baffling as the harmonic changes are so frequent and rapid with a few tonal ambiguities, perhaps even the last resolution. Both movements begin with an introduction which present key thematic materials. He then modulates to D minor before settling back into A minor. The singing quality and tranquillity found in the Introduction is now replaced abruptly by Beethoven in the Allegro Vivace as the unison dotted rhythms create a more marked and serious atmosphere to the music.