An Evolutionary View of Neapolitan Formations in Beethoven's Pianoforte Sonatas Author(s): Harold Thompson Reviewed work(s): Source: College Music

Symposium, Vol. 20, No. 2 (Fall, 1980), pp. 144-162 Published by: College Music Society Stable URL: http://www.jstor.org/stable/40374088 . Accessed: 28/12/2011 19:20
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Traditional Fresh and to Approaches Analysis

An Evolutionary Viewof in Formations Neapolitan Beethoven's Pianoforte Sonatas

Harold Thompson

StateUniversity Mississippi divide into instead, twocategories. them,

REFUSED TO PLACE BEETHOVEN'S WORKS IN PERIODS. He WOuld

and contains The first, in which form that traditional recognized and the in the that which of and governs thought themaster; thesecond, and the and recreates, fashions form and stretches, breaks, thought is to .. style according itsownneedsand inspirations. . Beethoven like theancient to Janus;one ofhistwofacesis turned thepast,theother towards future.1 the

it These facesare in evidencewherever looks,whether be a one searchinvolving detailsor broad design.As Liszt'sanalogyrelatesto Beethoven of the focalpoint this formations, principal Neapolitan study, continues use oftheNeapolitan the chordas he inherited i.e.,N6- V7- i. it, On theotherhandhe givesthechordrootposition and status ultimately treats as a fundamental it of chordwith relationships itsownin majoras wellas in minorkeys, relationships the by beingkeysimplied itsfundamadeof HI mental tones. thesekeys constitutetonalregion a Collectively - iv- bVI.This brief shows someoftheevolutionary as steps presentation formaBeethoven moves everforward expandshisuse ofNeapolitan and tions becomebuilding to in stones hismammoth structures. from material illustrative only Space limitations permit presenting
1 FranzLiszt, col. trans, Constance Letters, and ed. byLa Mara (MariaLipsius), by Bach(NewYork:Haskell HousePublishers, 1968),Vol.II, pp. 369,492. Ltd.,

NEAPOLITAN FORMATIONS IN BEETHOVEN

145

foursonatas:Opus 10, No. 3 in D Major; Opus 27, No. 2 in C-sharp and use Minor; Opus 57 inF Minor, Opus 106inB-flat Major.The first of the bll - iv - bVI regionas theharmonic in section basisof a principal Beethoven's sonatas in thedevelopment is movesection thefirst of piano ment Opus 10,No. 3, thedateofpublication this of work for being1798. the While region the sonatas, bolduse ofit appearsin someoftheearlier in tobuilda principal section this that a sonatasignifiesconfidence is not in In thelight whatis to come,itcouldevensigevident earlier of usage. of a nify moment decision. The lastmovement Opus 27, No. 2 furnishes of showing examples in formations first with minor the dominant the Neapolitan juxtaposed and the minorsubdominant the development in section, exposition, withthe tonicin the recapitulation. of finally juxtaposition Recurring with the formations thetraditional tonalpillars delineate to Neapolitan of structure this movement without is precedent. In Opus 57,juxtapositions formations appear involving Neapolitan in theoutermovements serve a principal and as devicenotfora unifying work. movement in Opus 27, No. 2 butfortheentire as Moreover, single in thefundamental tonesoftheNeapolitan chordgenerate relationships and of muchthesamewaythefundamental tones thedominant subdomiin It nantgenerate works. is thiscapability, juxtarelationships Mozart's that formations Neapolitan notwithstanding, elevates positions involving far in theuse oftheHI - iv- bVI region Opus 57 toa position in advance ofprevious usesoftheregion Opus 10,No. 3 and Opus 27,No. 2. in to thus Illustrative material from sonatas the enumerated farsuffices an viewof Beethoven's of Neapolitanformause present evolutionary from albeit somewhat Two examples truncated. tions, Opus 106 serveto a glimpse whathappenstowards end of Beethoven's of the only present howhexashowing compositional experience. Space limitations preclude formations to chordal and permeate regions relating thetonic Neapolitan of thestructure theentire sonata. Opus io, No. 3 in D Major The Opus 10,No. 3 Sonatashowsthattheuse of the bll - iv - bVI of the tonalspectrum include related to keys expandsBeethoven's region All on bothmajorand minor built thesametonic. fourhaveD as the keys Sir inhisinimitable as hometonic. DonaldToveyspeakstothis style point follows: The first ofwider basis is that and keys key-relation major minor on tonic identical. fact the are thesame The that so-called 'relative major'

146

COLLEGE MUSIC SYMPOSIUM

isa convenient of the to reference nothing do with has point backward it but that the matter; is an accident hasmisled tonic-sol-faists,has misled nobody else.NotA Minor, C Minor theminor modeofC.2 but is

The In theexample this (Ex. 1),C isthehometonic. illustrating point the seconddegree,mirrors asscale,C Minorwitha flatted descending to relate as scale,C Major.Romannumerals keys they cending designate thehometonic. of triads. also Theymay, course, designate Ex. 1.Keys Beethoven's spectrum in tonal

ii iii IV V

vi

bVIIbVI v

iv bill bll i

of movement No cadencemarks end oftheexposition thefirst in the motive theD Majorsonata.Instead, of gradually repetitions theprincipal modeofthe of thesharps thedominant and deflect theminor to drop key A barsofthesonata, hometonic. riseto thedominant the recalls opening A there a fermata overthedominant hereas in thebeginning. forbeing leads to a seon tissimo to (bVI), a surprise saytheleast, eruption B-flat based on the Neapolitan thefirst threeeight-bar of segquence region, and ments the The on breaks sequence beingon B-flat. lastsegment E-flat turns a dominant to of for preparation thereturn D Majorintherecapituof lation.In thebroadest sense,theprogression theentire development section thedeflection theminor to modeis: i - bVI - iv- bll - V7following I. Example2 shows lastsegment thesequence bll (E-flat the of on Major).
Ex. 2. Beethoven, Sonatain D Major,Opus 10, No. 3, first movement (Presto), measures 153-64.

1 jjjjjjjjujjjjjjji cl jJJjJijwj^ij^jj^ jnJjJjJjjyjj

Q60] i . _ J r^ fg ' li 3 T* 3 * -i \ 3 li tJ VI I I I

Es2DonaldF. Tovey, and in in MamStream Music Other "Tonality Schubert," 77i of (NewYork:World 1959),pp. 147-48. says Publishing Company,

NEAPOLITAN FORMATIONS IN BEETHOVEN

147

to follows tradition this in movement turns the and Beethoven sonata after the for Whathappens dominant thesecondgroupintheexposition. unableto resist is turnis perhapswithout Beethoven simply precedent; of A deflection thedominant minor to leadstoa series fourdevelopment. in of of barpassageseach ofwhich consists fourtonicizations regions the and B-flat dominant minor, bill, iv,and bll (C Major,D Minor, namely, in This passage returns the recapitulation the tonicminor. in Major). is there a inthedevelopment side Thuson either oftheNeapolitan region for use of the regionin whichbill substitutes bVI. Example3 similar of the shows return themajormodefollowing (B-flat bll Major). in Ex. 3. Beethoven, Sonata D Major, movement (Presto), Opus 10,No. 3, first 81-93. measures

m.Ml

$V}tf T^X1J'^'1I> I Tl rFri*1^j i f j r nfby

fv

i^

&

.C

cresc-

) 0 it, I

,^ f f r r *\dj "jjjjy'Mt pmfii,^, n F % F j 'ijjjUjjJTJ^Ujtjjjjjj,

in The progression the outlining Neapolitan region thedevelopment movement returns thefinal in ofthefirst movement, againas a sequence a on and,again,following suddeneruption B-flat bVI) (Ex. 4). It consti( occurs apat the tutes secondepisodeoftherondo.Thus,theprogression as themidpoint eachoftheoutermovements serves a of and proximately role for It an factor theentire work. alsoplays important incoununifying the The motive thebeginat of terbalancing outermovements thesonata. moveof motive thefirst of ningoftherondois an inversion theopening in As in theupperregister ment. a result, descending the arpeggiations in of in the thesetting theprogression therondocounterbalance ascents inthedevelopment ofthefirst movement. thelower section register with I citeunifying in factors recurring separatemovements some did becauseTovey,evenin thefaceof cogent evidence, not trepidation believethatsuchthings in Beethoven's sonatas.RogerSessions, happen

148

COLLEGE MUSIC SYMPOSIUM

Ex. 4. Beethoven, movement Sonatain D Major,Opus 10,No. 3, fourth Allegro measures 31-40. (Rondo),
p ,-_*! f^""fc ih fl< JTTi tj*Jl A -> v (Bp^HL* v 1 1LJ ^j *if fp= pr-If ^yji,J yip p a ^T*^ t>N r

-^ T^
Ej^

LLXj ^1 =a
J
y

==

J hJ ^^-^4naa ==

II IIII III I II II I I

i.

rJ ii y: rn i"J ii^
.ttf-'

i grrrri-^ 4 , f r fbrJ
-do]

on theother the to of hand,alerts analyst theexistence suchrelationships as follows: Sometimes . one ofthemost .. in musical ideas, a fundaimportant mental motivating may not in and sense, be even a thematic fragment relationatallbut some feature the of large such a recurring as design, between harmonies keys, evenina linear two or or relationship ship in embodied different times.3 of music different at aspects the The evidence thus relaof a presented farprojects number recurring As view formations tionships. this evolutionary ofBeethoven's Neapolitan continues the into evidence someinsight unfolding, cumulative provides how it is thatas Beethoven behis multimovement structures matures, comeincreasingly coherent entities. Opus 27, No. 2 in C-sharpMinor The "NeapolitanSonata" would be more appropriate than "The as a title Opus 27, No. 2, except one thing. for for That is,as Moonlight" vital Neapolitan as formations in molding form thefinal are of movethe of ment Opus 27, No. 2, this sonatais a progenitor an infinitely for more
3The Musical New Princeton (Princeton, Jersey: Press,1950), Experience University 44-45. pp.

NEAPOLITAN FORMATIONS IN BEETHOVEN

149

use in of its profound of thejuxtaposition a tonicwith Neapolitan Opus 57. Thus thetitle moreappropriate thelater is for sonata. SinceI find the to forOpus 57,1 willnottry start a "Appassionata" singularly appropriate fadbyreferring either to I do nothaveto sonataas the"Neapolitan." But callOpus 27,No. 2 the"Moonlight." Traditional movesixth usage of theNeapolitan appearsin thefirst of inmeasure ment Opus 27,No. 2 intheN6- V7-i progression beginning 3 ofExample5. Compare tranquil this with sweep beginning thepowerful
Ex. 5. Beethoven, SonatainC-sharp movement Minor, (AdaOpus 27,No. 2, first measures 1-5. giosostenuto),
J

* $ 'ft j jj jjJ iJJ I iJJ ipp iJJ iJJ

tsemfirepp senat sordini [i.e. conPeddle]

/y .y

Iw

-m

If"

.V.TT (S(.,.n,,!o^)

Ex. 6. Beethoven, Sonatain C-sharpMinor, movement Opus 27, No. 2, third measures 176-83. (Presto agitato), " 2

- - - . tt-#L # ^ ^

f
Jtt FJL1.

T...J

(b t X-J

^^

jfl

^^^ spfljjty
t|^^

*/

_:

130 1 [

./

]t

lit

S_

31.

iTt ^"^ ^*"^

^tt"

^"'<f] '"" Mi*^=?"

6"

' -[^f

150

COLLEGE MUSIC SYMPOSIUM

of the passage in whichessentially same progression the appears in a somewhat cadenceof moreelaborate in setting theapproachto thefinal tradiremains the finalmovement itself Whilethe progression (Ex. 6). uses thetreatmentinkeeping is with imaginative ofNeapolitan the tional, With movement. formations eachoftheprincipal in of sections theclosing in eachchordfilling bars,theprogression beginning measure177: two is, - i6 iv- N6viid/V - V7- leading barsoftonic-dominant intoa closeofeleven over4a tonic exchange pedal. formations Beethoven with in breaks tradition hisuse ofNeapolitan becomea powerful in themainbodyof thefinal wherethey movement of The first in the of factor delineating sections the sonatamovement. for theseformations furnishes most thematerial thesecondgroupin of the exposition.Its juxtaposition withthe minordominant(G-sharp on As of Minor) (Ex. 7) comesas somewhat a surprise. theeruption bVIin whenhe is theOpus 10,No. 3 Sonataillustrates, Beethoven notbashful crashon theNeapolidoes something and different. fortissimo new The tan sixthin measure33 furnishes anotherbold example.The threeflourish thechordthat on follows crashonlytobe repeated this measure A without after deceptive a closeis,insofar I know, as precedent. listener, of thispasevenan unwary theform-delineating one, grasps significance in in Example7 runsto sagewhenitreturns thetonic therecapitulation. on considerable lengthto show how the elaborations the Neapolitan in culminates flourish dominate secondgroup.Notethat extended the the sixth a traditional cadenceinvolving Neapolitan the 41-43). (measures Yetanother formation a juxtaposition appears involving Neapolitan inthecentral with ofthedevelopment Thissection section. portion begins the openingthemein tonicmajortreated the dominant F-sharp of as Minor.The minorsubdominant movesto D Major(its bVI) as the key of dominant itsNeapolitan returns F-sharp a and Minor to followingbrief excursion G Major(its bll) (Ex. 8). The use of theprincipal in of theme thesecondgroupestablishes unequivocal an with other the princikinship of in of The treatment theform this pal sections thismovement. overall movement a furnishessolidbasisfora proposal that Opus 27,No. 2 is the forthecreation Opus 57. of impetus Opus 57 in F Minor in RudolphRetishowshowall of thethemes Beethoven's Opus 57 in intervals itsopeningbars,thechiefinterval growout of the motivic second.4 WhileI am moreor lessin agreeamongthembeingtheminor
4Thematic Patterns Sonatas of Beethoven in (New York: The Macmillan Company,

1967),pp. 77-78.

NEAPOLITAN FORMATIONS IN BEETHOVEN

15 1

Ex. 7. Beethoven, Sonatain C-sharpMinor, movement Opus 27, No. 2, third measures 26-44. (Presto agitato),

:>

4*

''."..i

14..."

I*

"

*4...!

<

rcrr ,rrr JfT| f 7 r [j-^IWceaTrr re^e!if

r/r.sr.[35] Z1 - '

P^^p^l.
isr^l m

^^

^_ r
4

*
ft....!

cn'sc.

_______^ = '%
14

*
14

33 ^^ j'ffljjiiJjud 333^ ""> ;

_]

ryof^
T4

j;

t f v f v

v v

152

COLLEGE MUSIC SYMPOSIUM

movement Ex. 8. Beethoven, Sonatain C-sharpMinor, Opus 27, No. 2, third measures 75-83. (Presto agitato),

|^^_Ji33JJ33JJJJJ13|JTPJJJ3JWJTPijt ~ H' r r L/lr if frP .rlr r~r^[j

(MA r r I ir r \ fh \ j.^j j J W-jl

mentwithReti'sproposalsregarding contribution the thematic of the total to organic I am nonetheless process growth, puzzledbyhisalmost add for I in discussions. might parendisregard a time-scale hisanalytical thatdisregarding temporal or musicalcause-anda thetically sequence effect no lesspuzzling analyses serial that is in I of music. amconvinced no an one can see thatBeethoven a radical without forhistime is composer This convicof in understanding howhe operates a harmonic time-span. tion metoadd toReti's that openthe ownproposal compels my proposals barsofOpus 57 alsogenerate tonal sonata of the framework theentire ing (Ex. 9). as If one accepts generative chord a patthe of powers theNeapolitan ent harmonic one can see thatthe tonic-Neapolitan fact, juxtaposition stated theoutset thesonatagenerates at of thatmakeup thetonal keys framework theentire of the sonata.By superimposing tonesof thetwo chords thirds, in and the each tonegenerates, showdesignating keythat of the G-flat, ingtherelation eachtothehometonic, following result: keys bll; B-flat bill; and C Minor, D-flat, iv; A-flat, bVI;F Minor (hometonic); v. Minor, If one shouldquestionthatthe fundamental tonesof these juxtain Beethoven leaveslittle doubtofhisintentions posedchords imply keys,

NEAPOLITAN FORMATIONS IN BEETHOVEN

153

Ex. 9. Beethoven, Sonatain F Minor, movement assai), Opus 57, first (Allegro 1-13. measures

LM ijM'J- ' \ JJJ'y.

I ,

11

" ^ ijf^r ^ > ^ ir r p ^ r'rrrir> v~* " - m 8 7k

r*-j
== -

^^;

i:

i i*^

J I

i , 'L W

pocoritardand?

fa tempo

WW

thedevelopment section thefirst of he movement 10)where linesout (Ex. the implied keys as tonicizedregionsin symmetrically-arranged seon either sideofthetonic, tonic Theoretithe absent. itself quences being the lies the of nonetheless, tonic atthecenter thetwosequences, first cally, aboveiton A-flat, secondbeginning third a third the belowon Da ending flat. bothforward and backward fromthecenterperhapsexWorking thesymmetry thepassageintheclearest of plains way. backward from in the extends segments A-flat, sequence Turning by from Minorto E Minor, indirect C thirds to an relation the Neapolitan in tonic. forward from the D-flat, secondsequencecontinues Proceeding sixths from B-flat Minor G-flat to the thus by segments Major, completing outline theNeapolitan of A of for region. crucial point theunderstanding thesymmetrical ofthedevelopment section that is chains thirds of design

154

COLLEGE MUSIC SYMPOSIUM

Ex. 10a. Beethoven, Sonatain F Minor, movement assai), (Allegro Opus 57, first in of theme 65-78);thefirst (measures beginning thedevelopment E on opening of 79-82). segment thesequenceine (measures

...I (Ped simiie)

j}--^

........~~.

14 *

\ IP

tfp

A (legato Ped.)

sfP

. ___ ___

S//* diminuendo

l^^^^^r^gjt

1, jujjg

PP HU

a to in and the fan (orsixths) outfrom center extend eachdirection within movement of of An secondofthehometonic. outline theform this minor details. structural as thetext an aid forlocating accompanies are intentions clear.These tonicized Now Beethoven's proregions sonata. of are that to serveas thetonalframework theentire thekeys ject to F from Minor A-flat moves movement of The exposition thefirst Major to turns D-flat The middlemovement Minor. to and thendeflects A-flat of The exposition the finalmovement and thereit remains. proceeds

NEAPOLITAN FORMATIONS IN BEETHOVEN

155

(PP)

u- h^P' iila' [

'

l.hf1

T Egfr i h

11 ^

*** I. I JjtJ)J-*d J5jj1j "! tiJ-iI31 rrJ J-

fT

u* ttt ~^

T *
^

''

'

' ' it4^> ri^l ft1 I

i J i J ti J^

^=tjt tit fflFftg- y

LJ-9:ttFf r *#*T '

I'r

j f\j i j^p >7fL?tiJ'

it

...i

jt

it

.[it. ".1.

1.' 1..I....L

lv; j. rrrrriiju-ij--^^JjJjJjjlii^ ujp '. 1.1. ftotsimile) !*. ...J*

F from Minorto C Minor.The principal region thedevelopment of key in movement B-flat is The final Minor. coda touches section thefinal upon onceagainbefore final A-flat the ofthehometonic Major juxtapositions which with Neapolitan its conclude sonata.NotetheabsenceofG-flat the For section. all itsindepen(theNeapolitan key)as a keyfora principal chordcapableofgenerating denceas a fundamental at relationships this of Beethoven's he career, is notreadyto use theNeapolitan as key stage thetonalbasisfora principal section outside a development. of

156

COLLEGE MUSIC SYMPOSIUM

Ex. 10b.Partofthedominant the for preparation D-flat Major,thekeyinwhich ofthesecondsequence first (measures 94-97). segment begins

HE *'.!.} *'

tfi> jt1..}

*' ** *' *...lj *..!..! *..!..! *

Ex. 10c.The movefrom B-flat Minorto G-flat Major,theend of thesecondse116-18). quence(measures

formations occurin Opus 27, Juxtapositions involving Neapolitan No. 2 onlyin thefinal movement which in they operatein conjunction with principal the theme thesecondgroup.In Opus 57,juxtapositions of occurin theoutermovements. bothmovements appear in conIn they withtheprincipal themeof thefirst junction group.Thus, thetonic(F withits Neapolitan(G-flat Minor)appears in numerous juxtapositions In additionto its unifying thisrecurring Major). powers, relationship marks beginnings theexposition recapitulation bothmovethe of and in ments thusaidsindelineating form. addition, relationship and the In this alsoappearsin B-flat Minor thedevelopment in movesection thefinal of ment. another Yet in recurs this F Minor- G-flat section. Thisis example Minor.The last tonicMajor, not as i - bII, but as v - bVI in B-flat comesin thecoda of thefinal in movement the Neapolitan relationship traditional cadential formula i - N6 - V7 - i- twice theprecerepeated, dentforthiskindof dramatic elaboration closehaving leadingto a final beensetinOpus 27,No. 2 (Ex. 6). It is singularly for to the appropriate Beethoven summarize tonal of thissonatawith thisprogression, particularly thisfinal for and poise movement becausetheprogression suchan important in theenrole plays tire movement. Whereas Beethoven in withholds cadences altogether the first movement untilmeasure238 at thebeginning thefinalsection of

NEAPOLITAN FORMATIONS IN BEETHOVEN

157

marked allegro, cadencesaboundin thefinal movement. Theyare elipm the butthey are sions,to be sure,so as notto disrupt cumulative drive, illustrates this cadencesnonetheless. The beginning the exposition of (Ex. 11). point
Ex. 11. Beethoven, SonatainF Minor, movement ma Opus 57,third (Allegro non measures 20-28. troppo),
4S
^T^P i i f^^^^^^i^T^^i^ i [^^^^^^XbJK^^^JE^mm^^^ IZ_^^I^^^^^^^ ^^^^^^^^E^^^J^^2ot^^^h hmbSKh^^^^^^h

(1

3}
Lw^L^M^E^MEflBjH^^K^^k

Ex. 12.Beethoven, SonatainF Minor, movement ma Opus 57,third (Allegro non 86-97. measures troppo),

~~^ h'^fi1 E\{f U (ir Ito p \2

% J t ] I (simile) 4 3 r

^P

^f

158

COLLEGE MUSIC SYMPOSIUM

Ex. 13. Beethoven,Sonata in B-flatMajor, Opus 106, second movement, measures 159-72. (Scherzo),

^Q44p>!Jll|iJl"^f!"'|J11'^^
Presto.
Mff ^oco ritard. [HH .jq^, cr?5c.

_<t"^"-

------

TempoI.

r r r r i r r T^ jurm
^-- <TJ J -Ar-\ H ^H nn - - - - --t

^ p ^^
1

movement Sonatain B-flat Ex. 14. Beethoven, (Adagio Major,Opus 106,third measures 21-28. sostenuto),

^Y

pil^

espressivo

le tutte corde

It in situation A similar prevails thesecondgroupoftheexposition. the in measure with 76 three ofN6- viio i in C Minor, begins repetitions Insteadofmoving third time downward steptoa cadence.5 by continuing

NEAPOLITAN FORMATIONS IN BEETHOVEN

159

to thetonicit progresses an N6 (measure which, turn, to in 86) beginsa of in ten harmonies with morecomplete repetition theprevious measures thenextoctavebelow.Example12 begins and with repetition culmithe the in nates secondtime a cadence(measure 96). Opus 106 in B-flat Major Whilespace limitations the stages precludepursuing evolutionary to the"Hammerklavier" from sonata this a coupleofexamples leadingup willsuffice showhowfarBeethoven to in extends hisuse of Neapolitan "shedsthe 13 showsthatat thisstage,Beethoven formations. Example chord,as it were,and approachesthe finalcatops"of the Neapolitan with longplayon B-natural denceoftheScherzo a C-flat, (enharmonically ittoproceed thetonic. to theflatted seconddegree) before finally allowing domias Example14 showstheNeapolitan functioning a secondary in with nantof V (!) inconjunction a chainofsuspensions theupperregconin this ister.Following wildexcursion measures 22-24,Beethoven of in to forms tradition measures 25-26.Andherewesee thetwofaces the in of bars. ancient Janus thebrief time-span five detailsin an evoluA history musictheory of thattracesharmonic A sensehas yetto be published. historical tionary approachof thiskind It wouldnecessarily focusupon important innovative composers. would and inherited thecomposers showin somedetailtheharmonic language own to howthey details servetheir thensetaboutshowing manipulated Beethoven's This presentation needs and inspirations. upon focusing in direction. is uses region an effort this imaginative oftheNeapolitan
usedbypermission of edited Craxton Tovey, and Pianoforte of Boardedition theBeethoven from Sonatas, by Excerpts theAssociated of Schools Music. BoardoftheRoyal Associated the

160

COLLEGE MUSIC SYMPOSIUM

movement Beethoven,Sonata in D Major, Opus 10, No. 3, first (Presto)

Exposition Measures 1-124 FirstGroup (mm. 1-22) D major (I) Transition(mm. 22-53) B Minor (vi) F-sharpMinor F /;-^ nn a to A x. Major (V)

Development Measures 124-183 Deflectionto minor mode Rise to dominant (mm. 124-32) pauseSudden eruptionon B-flat leading intosequence, each segment being builton a fundamentaltone of the Neapolitan (mm. 1334Q) Firstsegmentof sequence (mm. 141-48) B-flat |>VI) ( Second segmentof sequence (mm. 149-56) G Minor (iv)

Recapitulation Measures 183-294 FirstGroup (mm. 183-204) in The recapitulation is thismovement quite regular.Noteis worthy therepetitionof thetonicizationof regionsstated in the minordominantin theexposition.In the minor tonictnevare as fo1"

Coda Measures 294-344 Because all of the of movements thissonata have the same tonic '' [ to the <urnsfe^uVei? su^ thfe J wL U1C IU11UW1I15 as was 7ements custom Mozart

Second Group (mm. 53-124) A Major (V) withdeflectionsto minor mode (v) The following tonicizations of regionsin the minor mode are especiallyimportant: C Major (Bill) (mm. 72-78) Ex d Minor (iv) 3* (mm. 78-82) B-flat Major (bll) (mm. 82-85) Cadence Group in A Major (V) (mm. 86-124) (No cadence)

Third segmentof se- \ I quence f tx' l (mm. 157-64) / E-flat(^II)

Dominantpreparationforthe returnof D Major (mm. 16583)

F major (Bill) (mm. 255-59) g minor(iv) (mm. 259-63) E-flat major (|>II) (mm. 263-66)

NEAPOLITAN FORMATIONS IN BEETHOVEN

161

Beethoven,Sonata in C-sharp Minor,Opus 27, No. 2, thirdmovement (Prestoagitato) Exposition Measures 1-64 FirstGroup (mm. 1-20) C-sharp Minor Development Measures 65-10 1 Recapitulation Measures 102-57 Coda Measures 257-200 of A restatement the principal themesleads into a cadentialformationwithelaborate arpeggiationsonthe profollowing gressionbeginningin measure each 177 Wlth two chord filling measures: / iv-N -viid V-i6 V7-closingwith eleven bars of tonic-dominant exchange over a tonicpedal

FirstGroup (mm. Opening themein tonicmajor treatedas 102-15) tne dominantof (FC-sharpMinor sharp Minor (iv) (mm. 65-7 1) F-sharpMinor moves Second Group (mm. Second Group to D Major (VI) as 116-57) (mm 21-64) dominantof NeapoliC-sharpMinor G-sharp tan and returns Fto Minormxtajuxtaposed withits Ex 7 *harPAllowinga Neapolitan (D Maposed withits briefexcursionin G (|>II). jor) Neapolitan (A /This sectionof thedeMaior) 1 velopmentmakesuse Ex. 8 of the principaltheme ^ Jof the second group \ (mm. 71-86) x 6 Dominantpreparationforthe return of C-sharp Minor (mm. 86-101)

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COLLEGE MUSIC SYMPOSIUM

movement Beethoven,Sonata in F minor,Opus 57, first (Allegroassai)

Exposition Measures 1-65 FirstGroup (mm. 1-22) F Minor (i)

Development Measures 65-135 Begins withtheopening themein E major. Continueswitha sequence, each segment being builton the fundamental tonesof the tonicand the Neapolitan E Major (mm.65-78) Firsthalfof sequence makesuse of opening theme rx/r. .m. -. E Minor 78

Recapitulation Measures 136-203 FirstGroup (mm. 135-51) p Minor p Major

Coda Measures 204-6 1

Fv !0a

^inor(m.83) A-flat Major (m. 87) TransitionDominantpreparaDominantprepa- tionforD-flatMajor rationforA-flat is a transposition of Major (mm. 25{measures 25-37 with Exdifferences 34) hm\yslight lob ((mm. 93-104) Sequence continuesin risingsixthsmakes use of principal themeof the second group Second Group D-flat(m. 109) A-flat Major Ex..B-flatMinor (m- 113) Minor xo^G-flatMajor (m. 117) A-flat (mm. 35-65)

Transpositionof transitionalmaterialto the dominantof F {onthe dominantnotin it) (mm. 163-73)

Coda reversesthe order of appearance of the themes m thedevelopmentsection, i.e., the principal themeof the seccomes 2nd S^up move" first T,he mentcloses as it beginswitha of finalstatement theopening 8 them^

Second Group F Major p Minor (mm. 174-204)