Solitary Dog Sculptor I

La Sonata n.º 8 en do menor, Op. 13 de Ludwig van Beethoven fue subtitulada "Pathétique" por el editor. Fue publicada en 1799, y escrita entre 1798 y 1799, cuando Beethoven tenía 27 años. Beethoven dedicó el trabajo a su amigo el Príncipe Karl von Lichnowsky.
La Sonata es fundamental en la producción pianística por sus valores de abstracción musical, así como por sus connotaciones filosóficas y las intuiciones de futuro de índole estructural (la estructura interna de la sonata es seguramente la más avanzada de las obras del primer período de Beethoven). Es considerada una de las obras cumbres de Beethoven, y una de las más interpretadas en público, tanto en vida del compositor como actualmente.

Movimientos

La sonata contiene tres movimientos:

1. Grave; allegro di molto e con brio.
2. Adagio cantabile.
3. Rondo: allegro

El primer movimiento empieza con una introducción (Grave), por primera vez en la producción de Beethoven. El Grave suscita sentimientos de dolor atenuados por momentos de luz. Ligado de manera orgánica a la introducción, aparece el Allegro molto e con brio, con un comienzo tormentoso, violentamente dramático y apasionado. Como ocurre con frecuencia en Beethoven, este primer tema es contrapuesto a otro tema más melódico y expresivo. El tema de la introducción aparece nuevamente antes de una sección de desarrollo, y nuevamente antes de la coda final. La tensión emocional del movimiento, concentrado, extenso y complejo, no se había dado nunca antes en la literatura pianística.
El famoso segundo movimiento, Adagio cantabile, es de una sosegada belleza y suavidad, aparentemente simple pero armónicamente densa. La idea principal se puede encontrar en otras obras de Beethoven como el cuarteto Op.18 Nº2 y en el Septimino Op.20.
El último movimiento, Rondó allegro, es rico en inventiva y delicadeza, aunque de carga emocional inferior a la de los dos intensos movimientos anteriores.
Los expertos destacan la unificación temática de la sonata a partir de una célula cíclica, que aparece en todas las secciones de la sonata: el núcleo temático del Grave se reproduce en el Allegro, y el segundo tema del Allegro es una amplificación del Grave. También es la base para el final de la melodía del Adagio cantabile y para el tema principal del Rondó. Se suelen destacar además las ambiciones sinfónicas y tímbricas de la sonata, muy rica en texturas.

Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky.^[1] Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.^[2]
Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to that of the spacious second movement of Mozart's sonata.^[3] However, Beethoven's sonata uses a unique motif line throughout, a major difference from Haydn or Mozart’s creation.^[1]

Movements

In its entirety, encompassing all three movements, the work takes approximately 19 minutes to perform. The sonata consists of three movements:

1. Grave (Slowly, with solemnity) – Allegro di molto e con brio (Quickly, with much vigour)
2. Adagio cantabile (Slowly, in a singing style)
3. Rondo: Allegro (Quickly)

Grave – Allegro di molto e con brio

The first movement is in sonata form. It begins with a slow introductory theme, marked Grave. The exposition, marked Allegro di molto con brio, is in 2
2 time (alla breve) in the home key of C minor and features three themes. Theme 1 features an aggressive rocket theme covering two octaves, accompanied with constant tremolo octaves in the left hand. Beethoven then makes use of unorthodox mode-mixture, as he presents the second theme in E-flat minor rather than its customary parallel major. This theme is more lyrical and makes use of grace notes and crossed hands. Theme 3 has modulated to the mediant, E-flat major, and features an Alberti-type figuration for the bass with tremolo. A codetta, with ideas from the opening allegro, closes the section. Some performers of the sonata include the introduction in the exposition repeat though others return to the beginning of the allegro section.
The development section begins in the key of G minor. In this section, Beethoven extends Haydn's compositional practice by returning to the introductory section. After this reappearance of the Grave, the composer generates suspense with an extended dominant preparation.
The recapitulation brings back the themes of the exposition in different keys: themes 1 and 3 are played in the tonic key of C minor, then theme 2 is played in the unexpected key of F minor but then returns to the tonic key. The coda is very dramatic and includes a brief reminder of the Grave before ending with a swift cadence.
Grave introduction: first four bars

Adagio cantabile

The Adagio movement, a grand expansive movement utilized by future composers, often in chamber music, opens with a famous cantabile melody. This theme is played three times, always in A-flat major, separated by two modulating episodes, making it a five-part rondo. The first episode is set in F minor (relative minor of A-flat major), further modulating to E-flat major before returning to the main theme. The second episode begins in A-flat minor and modulates to E major. With the final return of the main theme, the accompaniment becomes richer and takes on the triplet rhythm of the second episode. There is a brief coda.
The famous Adagio cantabile: first eight bars The theme of the second movement is remarkably similar to one of the themes in the second movement of Mozart's Piano Sonata No. 14, K. 457.
The cantabile from this movement was used as the theme music for radio's most widely listened-to classical music program,^[4][5] Adventures in Good Music, which aired nationally in the United States and in many other countries from 1970 to 2007. The theme was performed by Karl Haas, the program's host.

Rondo: Allegro

The sonata closes with a cut time movement in C minor. The main theme closely resembles the second theme of the Allegro of the first movement: its melodic pattern is identical for its first four notes, and its rhythmic pattern for the first eight. There is also a modified representation of the melody from the second movement, thus connecting all three movements together. The movement's sonata rondo form includes a coda. The three rondo episodes are in E-flat major, A-flat major, and C major. The movement can be thought as related to Beethoven's Piano Concerto No. 3 in C minor, Op. 37. The common use of sforzando creates a forceful effect.
Rondo: Allegro