JP Castillo

Beethoven Essay
According to Charles Rosen, Beethoven would use the bare minimum of a melodic or
harmonic shape in order to weave the theme throughout a piece. Unlike Bach, who would
isolate one element of the original theme and build upon it to introduce new material,
Beethoven would make an abstract out of the total shape instead of one particular line or
melody (Rosen p.436). Beethoven seems more concerned with the overall shape of a melody
instead of particular intervallic relationships, which is helpful when looking for similarities
between his work and that of Bach. Rosen uses an example from Beethoven’s Variations on
Rule, Britannia to demonstrate how the introduction can be stripped to a bare four notes which
Beethoven incorporates throughout the piece (Fig. 1 & 2). In the second example that Rosen
provides, he demonstrates that although the intervals are not the same the overall contour of
the melody is present (Fig. 3). Throughout Beethoven’s Op. 102/2 there is emphasis placed on a
16th note figure that contains a jump of a third followed by stepwise motion. This is seen in the
first measure of the first movement in the piano part (Fig. 4). This same jump of a third
followed by stepwise motion is seen in Bach’s Well Tempered Clavier in measure 6, only it is in
retrograde form (stepwise motion followed by a leap of a third, Fig. 5). This motion is seen
throughout both Bach’s Fugue and Beethoven’s Sonata, either directly quoting the original
subject or theme, transposed, or presented in an inversion. When comparing Beethoven’s
Op.102 with Bach’s G Major Fugue, there are correlations between the subject and theme at an
intervallic level but also in a rhythmic sense. The 16th note rhythmic structure is prominent in
both Bach’s Fugue and Beethoven’s Sonata, particularly in the first movement of the sonata. In
measure 10 of the Bach Fugue there is the introduction a pedal like accompaniment in the right
hand (alto voice), a D note is repeated between the other notes (Fig.6). This same figure is used
throughout Bach’s Fugue. Beethoven uses this similar figure starting in measure 8 and 9. We
can see that there is this pedal accompaniment in both hands of the piano part, with an A
serving as the pedal note (Fig. 7). In measure 2 and 3 of Bach’s fugue there is a leap of a 7th that
is part of the subject and is heard throughout the remainder of the fugue (Fig. 8). Starting in
measure 1 and 2 of Beethoven’s Sonata after the introduction of the 16 th note motive there is a
leap of an octave followed by another 16th note motive and then a leap of a 10th (Fig. 9).
Although the intervals are not the same in the Bach and Beethoven pieces, the idea is similar
enough to show correlation between both pieces. In measure 23 of the Bach Fugue starting on
beat three there is a scale run that starts and ends on G in the left hand of the piano (Fig. 10).
This scaler passage is seen throughout the fugue both as an ascending and descending scale. In
measure 3 of the Beethoven Sonata there is similar scaler decent from a G to another G and
octave lower (Fig. 11). This motion of octave phrases is seen throughout the Beethoven as
stepwise motion but also with leaps and arpeggiations. Although the first movement of
Beethoven’s Sonata is not a fugue it does contain some fugal characteristics, particularly the
use of repeating the theme in different voices in order to create a fugue like sound to the
melody. In measure 29 of Beethoven’s Sonata we hear the introduction of the second theme
which has more of a lyrical quality to it when compared to the first theme. It is first stated in
the cello part for two measures (Fig. 12). Immediately following the first statement in the cello,
the piano responds with the same theme in the right hand while the cello accompanies it (Fig.
13). This fugal like call and response seems to be prevalent when the second theme is
introduced throughout the first movement. Rosen states that no other composer understood
the power and effect that came from using simple reiteration of material. Through the study of
Bach’s G Major Fugue, we can see where Beethoven may have used some ideas to create the
foundation for his Sonata Op. 102/2. Beethoven’s first movement can be broken down to four
ideas which he then reintroduced throughout the movement as literal quotes, inversions,
transpositions, augmentations, and diminutions. Through the simple reiteration of the same
material introduced in different ways, Beethoven was able to create a works that gave him the
title of being the master of musical time.

Fig. 1 Fig. 2 Fig. 3

Fig.4 Fig.5

Fig. 6 Fig. 7

Fig. 8 Fig. 9
Fig. 10 Fig. 11

Fig. 12 Fig. 13