DAILY DOSE OF BEETHOVEN (April 8, 2020)
Beethoven's Pathetique sonata, in 3-PARTS (the second of the C-Minor Series)
Part 2: The key of C Minor: Music as Science
Part 1 discussed the nature of pathos and passion. Now, we address the science of the composition. Albert Einstein wrote of how his scientific discoveries were often inspired by musical intuition. Great composers followed the lead of great scientists in passing investigations down, often from generation to generation, for the benefit of humanity. Yet, that science is not a mere cold reason. Passion plays deeply into the scientific discovery. (We urge you to consider this together with the Daily Dose on Beethoven's Piano Trio in C Minor, Op. 1 #3).
First, we provide a short audio file to accompany the text. Though the text and the audio are complimentary, we strongly suggest following both at the same time. Even professional musicians may not be familiar with some of the ideas presented here.
CLICK HERE FOR AUDIO: https://soundcloud.com/user-385773006/beethoven-pathetique
Main Text and audio:
The first 5 tones of the Royal Theme in Bach's Musical Offering, go as follows, C-Eb-G-Ab-B.
That consists of a minor triad, C-Eb-G, and a downward leap of a diminished 7th, Ab-B.
It has several polyphonic implications, i.e.: what will happen as other voices are added?
C-G is a perfect fifth. There are half-tone intervals implied in that diminished 7th, Ab-B, and its relationship to the fifth, C-G. G to Ab is a half tone up. C to B is a halftone down. Those two inverted motions, change the perfect 5th, G to C, to the diminished 7th, Ab-B. The diminished 7th implies the tritone, or Lydian interval, that divides the octave in half, such as C to F#.
Bach had addressed the half-tone motions, over 20 years earlier, in his G Minor Fugue (Well-Tempered-Clavier, Book 1, https://youtu.be/_YYAY8fgd5w?t=129)
D-Eb-G-F#-G
Mozart, after discovering Bach, composed his sonata in C Minor, K457. It begins with the C Minor triad, rising over 2 octaves C-Eb-G-C-Eb, and is answered by the fifth, G-CCC and the diminished 7th, Ab-BB.
Mozart was not satisfied and subsequently, composed his Fantasy in C Minor, K475. It adds another implied interval—the tritone, or Lydian interval. In the case of C Minor, that tone is F#.
C-Eb-F#-G-Ab-C-B. -Compare that to Bach's C-Eb-G-Ab-B.
There is a signature here. Mozart begins both pieces with three voices singing a single line, in octaves. The opening tones of the sonata are the octaves, C3, C4, and C5. The same holds true for the Fantasy.
Beethoven begins his "Pathetique" Sonata, Op.13, with the same triple octave (though other notes are filled in.) It is a clear, and deliberate reference to Mozart (and Bach). His earlier Op.1 #3, also began with a single line of music in octaves.
Please listen to the audio for ease of reference.
The tail of Beethoven's first phrase, F#ACEb to GBD, matches Mozart's F#ACEb to GBD, followed by AbCF#—GBD.
So here we have it! The greatest passion, integrated with the coolest science! Yet, we are only scratching the surface.
We include again the entire performance of this great work, performed by Claudio Arrau.
Stay tuned for Part 3!