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Piano Sonata in E Major, Op. 109Beethoven's Last Piano Sonatas, An Edition with Elucidation, Volume 1$
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Heinrich Schenker and John Rothgeb

Print publication date: 2015

Print ISBN-13: 9780199914203

Published to Oxford Scholarship Online: October 2015

DOI: 10.1093/acprof:oso/9780199914203.001.0001

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Second Movement

Second Movement


(p.43) Second Movement
Piano Sonata in E Major, Op. 109

Heinrich Schenker

John Rothgeb

Oxford University Press

This movement is in sonata form, again with utmost compression. The First Theme has three thematic components that are virtually piled on top of one another in an atmosphere of utmost haste. The hurtling character of the components must be brought out in performance. Piano-technical resources are able to produce this effect. Text sources (Autograph, editions) are discussed and compared. A change of articulation of a three-note motif heralds the appearance of the Closing Theme; coordination with dynamic markings is discussed. Flexibility in tempo is necessary for performance here. Beethoven’s notation in the Autograph is discussed. The Development brings imitations of thematic components in stretto. Harmony and voice leading create a plagal effect at the end of the Development, where the first theme reappears in the tonic E minor after a caesura on an F# major harmony.

Keywords:   sonata form, First Part, Development, Reprise, harmony, performance, Autograph, editions

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