Beethoven’s fifth sonata. Composed between 1796 and 1798, it is dedicated to Anna Margarete von Browne, one of Beethoven’s patrons. In C minor, the work—unlike most other Beethoven sonatas—has three movements rather than four. A further hallmark is that all three movements are cast in sonata form or in a modified sonata design.
Exposition — mm. 1–105
First Theme
The first theme is built from two motives: (1) slow-moving block chords (vertical chords) and (2) a dotted-rhythm ascending arpeggio. The theme stated across the first two bars is immediately repeated on V. Thereafter the block-chord motive is used in stepwise (by seconds) descending sequences, heard twice, then reinforced with rinforzando. At this point the right hand moves in octaves and the span is lengthened so that the descent unfolds not as a two-bar but as a four-bar unit.
A short link appears that emphasizes V–I; the use of triplet rhythm here is also characteristic. The opening motive of the first theme then returns. After three repetitions, over a fortissimo dynamic a perfect authentic cadence (PAC) in C minor closes the first-theme area.
Transition
The transition begins in A♭ major, a third-related key to the tonic. It starts on V and, over five bars, descends by seconds to articulate a cadence in A♭. A salient feature is the division of parts: the writing suggests three- or four-part texture. In the left hand, two- and three-note chords descend stepwise bar by bar; in the right hand, the inner voice likewise descends, while the outer voice presents a melody tied across strong beats. After three similar phrases, from m. 48 the music prepares to move to the second theme. A long B♭ pedal—the dominant of E♭ major (the key of the second theme)—is sustained. With moving lines in both left-hand inner parts and in the right hand, a sense of motion is maintained over the pedal, and at m. 56 the music proceeds to the second theme.
Second Theme
As in a conventional sonata exposition in the minor mode, the second theme begins in the relative major, E♭ major. Over a left-hand accompaniment, the theme comprises two ideas: a first motive that ascends arpeggiando and then descends stepwise, and a second motive of staccato, stepwise ascent. The contrast between arpeggiation and conjunct motion is a favorite Beethovenian device. The use of grace notes/ornaments injects fresh interest on repetitions. Overall, the key remains stable without modulation.
From m. 83, over a dominant pedal, the left-hand accompaniment is taken over in right-hand unison; with a crescendo the music pushes forward more forcefully. At m. 86, with an I⁶₄ sonority, a phrase appears that again stresses B♭—the dominant—on the way to cadence; one can hear fragments of the first-theme motive continually in play. At mm. 93–94 a PAC in E♭ major is sounded, leading to a brief codetta.
Within a small dynamic, a single forte-piano accent heightens tension. V–I progressions are reiterated, and at m. 105 a cadence brings the exposition to a close.
Development — mm. 106–167
The development begins in C major—the tonic with the parallel major mode. Material from the first theme is worked as is. At m. 113 the harmony moves by way of a diminished-seventh toward F minor.
From m. 118 (in F minor), the accompanimental pattern used in the second theme becomes the driving basis of the texture. In the right hand, one can hear both the second-theme melody and the transition figure. At first a phrase appears that seems to transform the second theme’s arpeggio + stepwise descent. The phrase that starts in F minor then moves to B♭ minor and is repeated; afterward, passing through A♭ major, a new unison passage emerges. Of the two concurrent figures, the earlier figure remains in the right hand, while the unison figure is now in the left. With the eighth-note accompaniment removed, the ear perceives this as an entirely new section.
In the second part of the development the register widens, the number of chord tones increases, and the dynamics grow stronger. After striking a highest note, together with a left-hand stepwise ascent, a V of C minor appears at m. 158; from there until m. 167 a prolonged dominant is heard—a retransition—leading directly into the recapitulation.
Recapitulation — from m. 168
First Theme
The first theme returns exactly as in the exposition.
Transition
Unlike the exposition, where the transition appeared in A♭ major, the recapitulation’s transition is set in G♭ major—a move to a more distant key, which is notable.
Second Theme
Compared with the exposition, the second theme is greatly expanded in the recapitulation. First, contrary to ordinary sonata practice, it does not initially reappear in the tonic but in F major. From m. 229 it moves to C minor, and from m. 233 one can hear the second theme finally restated in the tonic. Now in octaves and marked forte, it conveys a more developed, enlarged impression than before.
From m. 241, the previously slow-note arpeggios are subdivided into eighth notes. Although the same figure is repeated, the result is greater drive and momentum. After several repetitions, a zone once again appears that emphasizes the dominant; at m. 263, with an I⁶₄ sonority, the music moves into a span built from fragments of the first theme, very close to what we heard in the exposition.
With the cadence at m. 271, a short codetta follows. As in the exposition, there is no greatly expanded coda—a further characteristic of this movement.
Beethoven’s fifth sonata. Composed between 1796 and 1798, it is dedicated to Anna Margarete von Browne, one of Beethoven’s patrons. In C minor, the work—unlike most other Beethoven sonatas—has three movements rather than four. A further hallmark is that all three movements are cast in sonata form or in a modified sonata design.
Exposition — mm. 1–105
First Theme
The first theme is built from two motives: (1) slow-moving block chords (vertical chords) and (2) a dotted-rhythm ascending arpeggio. The theme stated across the first two bars is immediately repeated on V. Thereafter the block-chord motive is used in stepwise (by seconds) descending sequences, heard twice, then reinforced with rinforzando. At this point the right hand moves in octaves and the span is lengthened so that the descent unfolds not as a two-bar but as a four-bar unit.
A short link appears that emphasizes V–I; the use of triplet rhythm here is also characteristic. The opening motive of the first theme then returns. After three repetitions, over a fortissimo dynamic a perfect authentic cadence (PAC) in C minor closes the first-theme area.
Transition
The transition begins in A♭ major, a third-related key to the tonic. It starts on V and, over five bars, descends by seconds to articulate a cadence in A♭. A salient feature is the division of parts: the writing suggests three- or four-part texture. In the left hand, two- and three-note chords descend stepwise bar by bar; in the right hand, the inner voice likewise descends, while the outer voice presents a melody tied across strong beats. After three similar phrases, from m. 48 the music prepares to move to the second theme. A long B♭ pedal—the dominant of E♭ major (the key of the second theme)—is sustained. With moving lines in both left-hand inner parts and in the right hand, a sense of motion is maintained over the pedal, and at m. 56 the music proceeds to the second theme.
Second Theme
As in a conventional sonata exposition in the minor mode, the second theme begins in the relative major, E♭ major. Over a left-hand accompaniment, the theme comprises two ideas: a first motive that ascends arpeggiando and then descends stepwise, and a second motive of staccato, stepwise ascent. The contrast between arpeggiation and conjunct motion is a favorite Beethovenian device. The use of grace notes/ornaments injects fresh interest on repetitions. Overall, the key remains stable without modulation.
From m. 83, over a dominant pedal, the left-hand accompaniment is taken over in right-hand unison; with a crescendo the music pushes forward more forcefully. At m. 86, with an I⁶₄ sonority, a phrase appears that again stresses B♭—the dominant—on the way to cadence; one can hear fragments of the first-theme motive continually in play. At mm. 93–94 a PAC in E♭ major is sounded, leading to a brief codetta.
Within a small dynamic, a single forte-piano accent heightens tension. V–I progressions are reiterated, and at m. 105 a cadence brings the exposition to a close.
Development — mm. 106–167
The development begins in C major—the tonic with the parallel major mode. Material from the first theme is worked as is. At m. 113 the harmony moves by way of a diminished-seventh toward F minor.
From m. 118 (in F minor), the accompanimental pattern used in the second theme becomes the driving basis of the texture. In the right hand, one can hear both the second-theme melody and the transition figure. At first a phrase appears that seems to transform the second theme’s arpeggio + stepwise descent. The phrase that starts in F minor then moves to B♭ minor and is repeated; afterward, passing through A♭ major, a new unison passage emerges. Of the two concurrent figures, the earlier figure remains in the right hand, while the unison figure is now in the left. With the eighth-note accompaniment removed, the ear perceives this as an entirely new section.
In the second part of the development the register widens, the number of chord tones increases, and the dynamics grow stronger. After striking a highest note, together with a left-hand stepwise ascent, a V of C minor appears at m. 158; from there until m. 167 a prolonged dominant is heard—a retransition—leading directly into the recapitulation.
Recapitulation — from m. 168
First Theme
The first theme returns exactly as in the exposition.
Transition
Unlike the exposition, where the transition appeared in A♭ major, the recapitulation’s transition is set in G♭ major—a move to a more distant key, which is notable.
Second Theme
Compared with the exposition, the second theme is greatly expanded in the recapitulation. First, contrary to ordinary sonata practice, it does not initially reappear in the tonic but in F major. From m. 229 it moves to C minor, and from m. 233 one can hear the second theme finally restated in the tonic. Now in octaves and marked forte, it conveys a more developed, enlarged impression than before.
From m. 241, the previously slow-note arpeggios are subdivided into eighth notes. Although the same figure is repeated, the result is greater drive and momentum. After several repetitions, a zone once again appears that emphasizes the dominant; at m. 263, with an I⁶₄ sonority, the music moves into a span built from fragments of the first theme, very close to what we heard in the exposition.
With the cadence at m. 271, a short codetta follows. As in the exposition, there is no greatly expanded coda—a further characteristic of this movement.