The Beethoven Sonatas and the Creative Experience by Drake Kenneth O

Author:Drake, Kenneth O.
Language: eng
Format: epub
ISBN: 9780253011534
Publisher: Indiana University Press

Ex. 12.3. OP. 28, I, MM. 40–43.

Ex. 12.4. OP. 28, I, MM. 90–98.

Like the octave compass of the principal theme, the repeated scale passages in mm. 104–108 lie basically within an octave, as do the separate phrases of the closing theme (Ex. 12.5).

Ex. 12.5. OP. 28, I, MM. 135–39·

Compared with the exposition and recapitulation, the development becomes restless, then turbulent in the resolute ascent to f and the peak of importance it reaches. One may well hear the ominous repeated f octaves at the beginning of the development as the harbinger of the double pedal point on f beginning in m. 219, and, for that matter, the V7–I in G major in mm. 165–67 as a re-emergence of the G-major issue at the beginning of the movement. The contrast in activity between the exposition and the development may be traced back to the differences between the two halves of the principal theme. The first half drifts downward, which is the general melodic direction of the exposition, while that of the development, based on the second half of the theme, generally rises, settling on f in m. 219. The greatly expanded range of the new contrapuntal episode is a factor in the mounting energy, as is the underlying current in stepwise eighth notes, instead of quarters or triad tones (Ex. 12.6). The ascending segment of the principal theme, on which the approach to f beginning in m. 183 is constructed, is intensified by abbreviation. The four-measure phrase becomes a two-measure phrase beginning in m. 199, subito piano; then a one-measure phrase in m. 207, marked crescendo; finally it is reduced in the right hand to two quarter-note beats (Ex. 12.7).

Ex. 12.6. OP. 28, I, MM. 201–204.

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