Beethoven

• BARS

  Sections of the musical piece
• SECTION

  Descriptive title for each section
• KEY

  The key the section is in
• NOTES

  Description of the musical content and features of the section
• IMAGE

  Visual representation of the section
• 1st Exposition: Bars 1-74
• 1st Subject: Bars 1-14
• 1st Subject


  • Narrow range, conjunct melody, quaver rhythm
  • x motif (3 bars - imbalanced)
  • First in homorhythm but then a decorative run to its highest point, then ending on an imperfect cadence
  • Strings respond with a similar homorhythm beginning in B major
  • Strings drop back into G major, ending on a perfect cadence
• Link passage: Bars 14-28
• Link passage


  • Motif X is developed by the orchestra, shared by violins, oboe and flute
  • Lower strings imitate the same motif
  • Rhythm is compressed and texture builds to a full orchestral climax in bar 23
  • Rhythmic diminution is frequently explored
  • A dotted rhythm idea appears, hinting at a new theme
• Transition 1: Bars 29-40
• Transition 1

  • A new, modulatory 4 bar theme is characterised by lively dotted rhythms, and appears sequentially 3 times (violins, oboe, flute, bassoon, violin)
  • It begins in a different key each time
  • It is accompanied by triplets and dotted rhythms in the strings
• Link passage: Bars 40-49
• Link passage


  • Rising sequence (based off of X) takes us through hints of F# major, B minor, G major, and C major
  • It settles back in G major for the Codetta
• Codetta: Bars 50-74
• Codetta


  • Rousing codetta theme is presented by a full orchestra
  • Rhythmic diminution adds energy
  • Oscillating quavers in the lower strings accompany
  • There is a passage in antiphony (60 - 67)
  • A reminder of motif x is heard three times (68-74) with dynamic contrast
  • In bar 74, there is also a tritone
• Solo Exposition: Bars 74-192
• Introduction: Bars 74-88
• Introduction


  • Piano enters, outlining tritones to the rhythm of motif x and becoming steadily more energetic
  • There is rhythmic diminution
  • After sparkling scales and trills, material based off of motif x begins
• 1st Subject: Bars 89-96
• 1st Subject

  • The orchestra reminds us of the first subject, answered by the piano
• Link passage: Bars 97-104
• Link passage

  • After the piano takes off on its own triplet figuration, there is a dialogue between the bassoon and other woodwind, first in E minor and then in D minor
  • There is melodic decoration from the piano
• Transition 2: Bars 105-119
• Transition 2


  • Unexpected move to Bb major with a new, lyrical theme played high in the piano's register
  • Accompanied by left hand triplets
  • The polarised texture exploits the wide range of the 19th century piano
  • The string accompaniment reminds us of motif x, this time in augmentation
  • The showy, decorative piano part utilises scalic runs, arpeggios and contrary motion in semiquaver triplets
• DELAYED 2nd Subject: Bars 119-126
• DELAYED 2nd Subject


  • The delayed second subject is presented by the strings
  • In the dominant key, D major
  • Repeated by the piano in a decorated and highly chromatic variation
• Link passage: Bars 127-133
• Link passage

  • Idiomatic passagework his highlighted by a 2 bar sequential figure in the orchestra
• Transition 1: Bars 134-144
• Transition 1

  • The theme returns 3 times in 3 different keys: First the violins, then the flute and finally the oboe
• Link passage: Bars 145-156
• Link passage

  • The link passage this time features the piano and briefly visits B major, E minor and C major
• Codetta: Bars 157-192
• Codetta

  • Codetta theme appears, this time in the dominant
  • Accompanied by more piano triplets
  • A sudden diminished 7th chord (164) heralds a brief, additional section where rising chromatic scales from the piano are set against motif x in the strings
  • A long trill in the piano leads into the final cadence of this section (typical classical fashion)
  • However, Beethoven surprises us by not resolving the cadence and by repeating the codetta theme, but much quieter in the piano
  • The orchestra interrupts robustly in bar 174 and brings the exposition to a close with the same material as at the end of the 1st exposition, but in the dominant key
• Development: Bars 192-253
• Development

  • Piano begins development with a tritone figure similar to the start of the 2nd exposition
  • Beethoven begins on an F, taking us abruptly away from D major and into F minor
  • There's a combination of triplet and motif x rhythms
  • Pianissimo dynamics, then we move into D minor and suddenly into B minor
  • Woodwind develops motif x while violins and cellos copy the piano's triplets
  • Then there is the circle of 5ths (B minor to F# minor to C# minor)
  • Highly virtuosic for the piano, rhythmically complex and punctuated by chords from the orchestra
  • It's fantasia like, repeating short motivic ideas with lots of chromaticism, building to a climax in bar 227
  • It then reduces to trills that move us into the final section of the developments
  • Still in C# minor, the longest lasting tonality of the development. (but the most remote key from the tonic - tritone away)
  • Basses play x motif rhythm
  • 5 note descending scales in piano take us into E major
  • Woodwind bring in motif x over the piano triplets and a brief fugato begins with a fugal subject into piano
  • At this point we are back in the tonic and its characterised by trills, scales and off beat accents
  • Woodwind play a countersubject as the lower strings take on the subject melody with the counter subject moving into the horns
  • Piano still plays triplets, motif x reappears In the orchestra (bar 248) and tension builds with crescendos, rhythmic diminution, sforzando chords signalling return to the opening material
• Recapitulation: Bars 253-356
• 1st Subject: Bars 253-266
• 1st Subject


  • Piano begins with the 1st subject theme, as before but this time much louder and fuller
  • There are much more rhythmically colourful chords
  • The piano decorates the orchestra's response with further triplets
  • Despite the complexity, the mood is gentle