Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition

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1 University of Iowa Iowa Research Online Theses and Dissertations 2013 Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition JeeHyung Moon University of Iowa Copyright 2013 JeeHyung Moon This dissertation is available at Iowa Research Online: Recommended Citation Moon, JeeHyung. "Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition." DMA (Doctor of Musical Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Music Commons

2 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

3 Copyright by JEEHYUNG MOON 2013 All Rights Reserved

4 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

5 To My Parent ii

6 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, From the letter to Emilie M. iii

7 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 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. iv

8 TABLE OF CONTENTS LIST OF TABLES LIST OF FIGURES vi 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 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 v

9 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 Table 4. Formal Structure of the Development of the Allegro of Beethoven s Cello Sonata in F major, Op. 5, No 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 Table 7. Key Structure of the Recapitulation of the Allegro of Beethoven s Cello Sonata in F major, Op. 5, No 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 Table 10. Key Structure of the Allegro vivace of Beethoven s Cello Sonata in F major, Op. 5, No vi

10 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, 1 st movement, mm Figure 3. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 4. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 5. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 6. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm (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 Figure 9. Sentence Structure 34 Figure 10. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Main Theme (Sentence): basic idea (mm ) + basic idea (mm ) + continuation (mm ) + cadential (mm : PAC) 35 Figure 11. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Secondary theme (three phrase period): antecedent (mm ) + 1 st consequent (mm ) + 2 nd consequent (mm ) 37 Figure 12. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Repetition of secondary theme: mm Figure 13. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 14. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 15. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm EEC: m. 143 (PAC of C major) 42 vii

11 Figure 16. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 17. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 18. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 19. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 20. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 21. Main Theme in the Recapitulation (mm ) 52 Figure 22. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 23. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 24. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 25. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 26. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 27. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 28. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm Figure 29. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 30. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 31. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, viii

12 mm Figure 32. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 33. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 34. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 35. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 36. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 37. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 38. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 39. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm Figure 40. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 2 nd movement, mm ix

13 1 CHAPTER I INTRODUCTION The cello sonata tradition began in Italy during the 17 th 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 ( ) (Milan, 1610). 1 Since then many more cello sonatas were composed in Italy during the 17 th Century and most were composed for the cello and basso continuo. 2 In 18 th Century, J. S. Bach ( ) composed three sonatas before 1741 for the harpsichord and the viola da gamba, BWV and the Italian cellist-composer Luigi Boccherini ( ) wrote 34 sonatas for cello and basso continuo. In France, Martin Berteau ( ) and J B. S. Bréval ( ) 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 ( ) 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, accessed June 25, Basso continuo was played in various ensembles by players of chordal instruments throughout Europe for roughly two centuries after about 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.

14 2 Louis Duport ( ). 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 ( ) 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.

15 3 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.

16 4 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 ( ) 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 ( ), was a bass and Kapellmeister at the court and his father Johann van Beethoven ( ) was a court tenor. Johann van Beethoven married Maria Magdalena ( ) on November 12, 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, 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

17 5 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 ( ) 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 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 ( ), a German composer, organist, and conductor arrived in Bonn in October Neefe was named successor to van den Eeden as court organist on February 15, He became Beethoven s teacher in 1780 or 1781 and remained his only important teacher until Beethoven left Bonn in November 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

18 6 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 ( ), 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 , 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 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

19 7 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 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.

20 8 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 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 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 ( ). The lessons began soon after Haydn s departure and continued until the spring of Antonio Salieri ( ) was also Beethoven s teacher in dramatic and vocal

21 9 composition for a number of years in Vienna, starting perhaps as early as 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, 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 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 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,

22 10 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 Eight of his ten violin sonatas were written during this period. The set of three sonatas, Op. 12, ; the sonatas in Op. 23 and Op. 24 (spring), ; and three sonatas Op. 30, , 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, 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 His first symphony Op. 21 was written in 1800 and symphony No. 2, op. 36, was completed in The first twenty of his thirty three piano sonatas were composed in the eight years leading up to 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 He had several years of inner conflicts and anxiety in the late 1790s to early 1800s. This was during his years of

23 11 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 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 6 th, 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 ( ), he produced an opera, an oratorio, a Mass,

24 12 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 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 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

25 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, 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, 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

26 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 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 He composed songs and choral pieces but did not complete any major work during 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, 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 Beethoven was moving toward his late period with patriotic pieces which

27 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 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 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.

28 16 During the winter of 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 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 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.

29 17 Beethoven s longest Piano Sonata in B-flat Hämmerklavier, Op. 106, from , 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, Beethoven also wrote the Missa Solemnis, Op. 123, 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, , 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 The original finale of Op. 130 was used as a separate piece and published as The Grosse Fugue Op Schott s Sons published Op. 127 in June 1826, but the remaining quartets were published posthumously in 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 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.

30 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, accessed June 25, Watson, 32.

31 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 ( ), 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.

32 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, Ibid., 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.

33 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 ) and Jean- Baptiste Lully ( ), 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], Ibid., William E. Caplin, Classical Form [Oxford: Oxford University Press, 1998], 203.

34 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 cadenzalike passage in the piano (mm ). 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

35 23 the melodic material. But the three voices move in heterophony 14, 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, 1 st 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, 1 st movement, mm 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.

36 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 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 ) where the piano plays the same melodic idea in F minor. Here, the cello moves by step in a broken octave motion. (mm , see Figure 4). Figure 4. Beethoven s Sonata for Cello and Piano Op. 5, No. 1, 1 st movement, mm 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.