Analysis

of
Ludwig van Beethoven
Sonata No. 3 in A Major
for Violoncello and Fortepiano
opus 69
by
Bronwyn Banerdt
May 9, 2011
ontent ! For"
#r. $endall %ri&&s
'(e )uilliard Sc(ool
'A%*+ ,F ,N'+N'S
-N'.,#/'-,N 1
0-S',.1 3
0A.M,N- *A1,/' 6
-. Alle&ro, "a non tanto 2
--. Sc(er3o 12
---. Ada&io canta4ile 5 Alle&ro 6i6ace 17
M,'-V+S ! '0+M+S 12
-. Alle&ro, "a non tanto 20
--. Sc(er3o 27
---. Ada&io canta4ile 5 Alle&ro 6i6ace 28
,N*/S-,N 29
%-%*-,:.A;01 29
%anerdt 1
-N'.,#/'-,N
%anerdt 2
%eet(o6en<s 8 Sonatas for Violoncello and Fortepiano are a"on& t(e 4est=
lo6ed pieces for cello and piano. '(e t>o opus 8 sonatas are t(e oldest ?no>n
sonatas for cello and piano >it( a >ritten=out piano part, "a?in& t(e" pi6otal
>or?s in t(e (istory of t(e cello. '(e Sonata in A Major, opus 69 is ar&ua4ly t(e
first "ajor classical >or? for cello and piano in >(ic( t(e t>o instru"ents are
&i6en e@ual i"portance as solo 6oices. -n fact, t(e opus 8 sonatas are titled Sonatas
for Fortepiano and Violoncello, indicatin& t(e cello<s su4ser6ient role. -ndeed not
since t(e ti"e of t(e -talianate 4aro@ue sonatas >ritten 4y co"posers suc( as
%occ(erini and (is conte"poraries (ad t(e co"4ination of t(ese instru"ents 4een
eAplored in any si&nificant >ay 4y a "ajor co"poser. '(us t(e A Major Sonata
represents a si&nificant step for>ard in t(e de6elop"ent of t(e cello as a solo
instru"ent. 'o t(is day it re"ains a fa6orite a"on& cellists 4ecause of its flo>in&
lyricis", con6ersational nature, and its >ide ran&e of re&ister, 6ariety of c(aracters,
and dept( of e"otion.
%anerdt 3
0-S',.1
%anerdt 7
%eet(o6en co"posed t(e Sonata No. 3 in A Major for Violoncello and
Fortepiano, opus 69 in Vienna 4et>een t(e years 1209 and 1202. '(is
co"positional period, ?no>n as (is "iddle or B0eroicC period, is &enerally
understood to 4e&in in 1202 follo>in& t(e >ritin& of t(e B0eili&enstadt
'esta"ent,C a post(u"ously disco6ered docu"ent in >(ic( %eet(o6en eApresses
(is despair o6er (is ad6ancin& deafness and a stron& sense of "artyrdo" to (is art
for" in Ba &reat un4urdenin& cry of &rief at (is deafness and solitudeD"in&led
>it( apolo&y, self=justification, self=pity, pat(os, pride, (ints of suicide, and
presenti"ents of deat(C E$er"an 91F. o""on t(e"es of t(is co"positional
period include &ro>t( and transcendence, ta?in& a psyc(olo&ical journey on >(ic(
so"et(in& "ust 4e o6erco"e in order to conclude in triu"p(. -t >as also durin&
t(is period t(at %eet(o6en 4e&an to eAecute t(e sonata for" in a lar&e scale, layin&
do>n t(e"atic ele"ents t(at per"eate not only indi6idual "o6e"ents 4ut entire
>or?s. B+6ol6in& t(e"es, transitions 4et>een >idely separated passa&es, actual
t(e"atic recurrences fro" one "o6e"ent to anot(er, and last 4ut not least, t(e
in6ol6e"ent of eAtra="usical ideas 4y "eans of a literary teAt, a pro&ra""e, or Eas
in EroicaF just a fe> tantali3in& titlesC E$er"an and 'yson 108F. Alt(ou&( not
specifically pro&ra""atic, t(e opus 69 cello sonata is a perfect eAa"ple of t(is
co"positional tec(ni@ue, as >ill 4e de"onstrated later in t(is paper, as >ell as t(e
increase in lyricis" t(at also typifies (is >or?s of t(is era.
'(e first perfor"ance of t(e sonata too? place in Vienna on Marc( 8, 1209,
played 4y cellist Ni?olaus $raft and pianist %aroness #orot(ea 6on +rt"ann at an
Akademie (eld for t(e 4enefit of t(e cellist. Alt(ou&( t(e inscription is not present
in t(e earliest editions, t(e >or? >as dedicated to %aron -&na3 6on :leic(enstein, a
cellist and close friend of %eet(o6enGs >(o assisted t(e co"poser >it( "any
personal and financial "anners. Financial pro4le"s pla&ued %eet(o6en in t(e early
1200s, due in &reat part to (is tu"ultuous relations(ips >it( (is patrons. 0e lost (is
sponsors(ip fro" ;rince *ic(no>s?y in 1206 and entertained an offer to 4eco"e
t(e $apell"eister in t(e city of $assell. 0e >rote in 1202, B'(e t(ou&(t t(at - s(all
certainly (a6e to lea6e Vienna and 4eco"e a >anderer (aunts "e persistentlyC
EAnderson 193F.
'u"ult encapsulated "any areas of %eet(o6enGs life in t(e early 1200s. A
ro"antic relations(ip spannin& se6eral years >it( t(e ountess )osep(ine #ey"
ca"e to an un(appy end in 1209. Har >as anot(er e6ent t(at profoundly affected
%eet(o6enGs state of "ind as NapoleonGs ar"ies approac(ed Vienna. '(e serenity
and lyrici" of t(is sonata is astoundin& under t(ese circu"stances.
B-t "i&(t 4e t(ou&(t t(at %eet(o6en (ad concei6ed it in one of (is rare "o"ents of
felicity. -nstead >e read t(ese >ords in t(e "anuscriptI Inter lacrimas et luctum E-n t(e
"idst of tears and sorro>.C ESc(er"an 697F
'(e Sonata in A Major >as first pu4lis(ed 4y %reit?opf ! 0Jrtel in 1209,
in an edition riddled >it( errors and inconsistencies Eincludin& t(e incorrect
%anerdt 8
desi&nation of t(e >or? as %eet(o6enGs opus 89 instead of opus 69F, "any of >(ic(
re"ain unresol6ed to t(is day. #espite t(e fact t(at %eet(o6en consistently
re@uested for (is pu4lis(ers to send (i" ad6ance copies of (is >or?s for t(e
purposes of proofreadin&, t(ese re@uests >ere rarely &ranted, "uc( to (is eAtre"e
consternation. -n t(e case of opus 69, %eet(o6en sent eAtensi6e lists of corrections
to %reit?opf ! 0Jrtel for future printin&s and e6en proposed pu4lis(in& t(e list in
t(e ne>spaper or for purc(ase 4y custo"ers >(o (ad already 4ou&(t t(e sonata.
0e >rote to t(e pu4lis(erI
B0ere is a &oodly ser6in& of printerGs errors, >(ic(, since - ne6er in "y life trou4le
"yself any lon&er a4out t(in&s - (a6e already >ritten, >ere pointed out to "e 4y a &ood
friendK '(is a&ain confir"s >(at - (a6e eAperienced 4efore, t(at >or?s pu4lis(ed fro"
"y o>n "anuscript are t(e "ost correctly en&ra6ed ones.C E*oc?>ood 32F
0o>e6er t(e list >as ne6er released to t(e pu4lic, and second editions s(o> only
so"e of t(e corrections offered 4y t(e co"poser. ,f t(e auto&rap( "anuscript,
only t(e first "o6e"ent is eAtant, alt(ou&( eAtensi6e s?etc(es for all t(e
"o6e"ents sur6i6e. S?etc(es for opus 69 inter"in&le >it( se6eral ot(er >or?s (e
>as >or?in& on concurrently, "ost nota4ly t(e Violin Sonata in : Major, opus 96
and *eonore ,6erture No. 1. ,t(er >or?s pu4lis(ed 4et>een 1202 and 1209
include t(e 8
t(
and 6
t(
Sy"p(onies, Strin& Luartet, opus 97, and Fortepiano
Sonatas, opus 92, 99, and 21a.
%anerdt 6
0A.M,N- *A1,/'
%anerdt 9
,6erall For"
*ud>i& 6an %eet(o6enGs Sonata in A Major for Violoncello and Fortepiano, opus 69
consists of t(ree "o6e"ents in Sonata for"I
-. Alle&ro, "a non tanto
Sonata Alle&ro
--. Sc(er3oI Alle&ro "olto
.ondo MA%A%AN
---. Ada&io canta4ile 5 Alle&ro 6i6ace
-ntroduction
Sonata Alle&ro
'(e (ar"onic layout for t(e entire >or?I
- -- ---
A a e = A
'(is sonata is 6ery si"ple in its (ar"onic structure and for", ad(erin& @uite
strictly to t(e con6entions of t(e ti"e. '(e 'onic ?ey of A is presented fully in t(e
openin& "easures, and %eet(o6en ne6er strays far fro" t(is ?ey for t(e duration of
t(e >or?. '(e tonality of t(e second "o6e"ent de"onstrates fleAi4ility 4et>een
t(e "ajor and "inor "odes, 4ut funda"entally reinforces t(e 'onic ?ey of A. '(e
introduction of t(e t(ird "o6e"ent is in t(e #o"inant ?ey of + Major, >(ic( can
only lead 4ac? to t(e ine6ita4le and triu"p(ant conclusion in A Major.
'(e follo>in& pa&es s(o> a &rap(ic representation of t(e (ar"onic layout
and p(rase structure of eac( indi6idual "o6e"ent, follo>ed 4y eAplanation and
discussion.
%anerdt 2
-. A**+:.,, MA N,N 'AN',
Sonata Alle&ro for"
+O;,S-'-,N
'0+M+I - -- ---
;0.AS+I 1 2 3 7 8 6 1 2 3 7 1 2 3 7
$+1I A A A A a e + + + + + + + +
e A APfQ
+
MMI 1 9 13 12 28 29 32 76 81 89 68 91 99 29e
.+A;-'/*A'-,N
'0+M+I - -- ---
;0.AS+I 1 2 3 7 1 2 3 7 1 2 3 7
$+1I A A a a A A A A A A A A
A #
MMI 182 182 167 162 198 123 122 196 202 202 216 233
0ar"onically and t(e"atically, +Aposition ;(rases 3 ! 7 are eAact
repetitions of ;(rases 1 and 2 , respecti6ely. '(ey do not repeat in t(e .ecapitulation.
-nstead of "odulatin& to t(e #o"inant E+F, as in +Aposition ;(rase 8 ,
.ecapitulation ;(rase 3 stays in t(e 'onic EAF.
+Aposition ;(rase 6 is 6 4ars lon&R .ecapitulation ;(rase 7 is 2 4ars lon&,
featurin& one "ore ela4oration upon t(e sa"e "oti6e.
'(e"e area --- ;(rase 7 "odulates up a ;erfect Fourt( 4ot( ti"es,
4rin&in& t(e +Aposition 4ac? to 'onic EAF in t(e +Aposition and "o6in& t(e
.ecapitulation into t(e Su4=do"inant E#F for t(e first ti"e in t(e piece.
%anerdt 9
-. A**+:.,, MA N,N 'AN',
$ey .elations(ips in t(e +Aposition
'(e +Aposition of t(e first "o6e"ent is di6ided into t(ree "ain t(e"e areas
t(at are 4alanced in t(e .ecapitulation. '(e"e area - consists of siA p(rases, t(e
first four of >(ic( are in A Major. ;(rase 8 tonici3es t(e "inor "ode of a 4efore
"o6in& for t(e first ti"e into t(e #o"inant ?ey of e. ;(rase 6
re"ains in e and leads into t(e"e area --. '(e"e area -- in t(e +Aposition consists
of four p(rases and is entirely in E, follo>in& t(e con6ention t(at t(e first state"ent
of t(e Second '(e"e s(ould 4e presented in t(e #o"inant ?ey. '(e"e area ---
consists of four p(rases, t(e first t>o of >(ic( are in E. ;(rase 3 4e&ins in E, t(en
>anders into A, 4ut is not @uite ready to co"e (o"e to 'onic, and (eads 4ac? in to
E. ;(rase 3 finally ta?es us 4ac? fro" E to 'onic A for t(e repeat, and t(e second
ti"e into t(e related "inor ?ey of f# to lead into t(e #e6elop"ent.
$ey .elations(ips in t(e .ecapitulation
'(e .ecapitulation 4alances t(e +Aposition perfectly. '(e"e area - in t(e
.ecapitulation consists of only four p(rases instead of siA as in t(e +Aposition.
'(is is 4ecause in t(e +Aposition, ;(rases 3 ! 7 in t(e +Aposition are precisely
"oti6ically and (ar"onically identical to ;(rases 1 ! 2 . '(e repetition ser6es to
reinforce t(e 'onic in t(e +Aposition, 4ut t(is is not necessary in t(e .ecapitulation
4ecause t(e 'onic and #o"inant (a6e already 4een fir"ly esta4lis(ed. -n t(e
.ecapitulation, ;(rase 2 "o6es fro" a "inor 4ac? into A Major instead of
"o6in& into t(e #o"inant. '(is &i6es %eet(o6en t(e opportunity to state t(e
Second '(e"e in t(e 'onic ?ey, as typically dictated 4y for"al con6ention of t(e
ti"e. '(e"e area -- in t(e .ecapitulation consists a&ain of four p(rases, t(is ti"e
in A "ajor. '(e"e area --- also consists of four p(rases restated in t(e 'onic ?ey
of A. '(e surprise (ere is t(at >(ile in t(e +Aposition, ;(rase 7 "o6es up a
;erfect 7
t(
fro" E to A, t(e .ecapitulation "o6es up a ;erfect Fourt( fro" A into
t(e Su4=do"inant ?ey of D Major for t(e first ti"e in t(e piece. '(is ?eeps t(e
4alance of t(e +Aposition to t(e .ecapitulation 4y "aintainin& consistency in t(e
?ey relations(ips >(ile still pro6idin& a fres( and surprisin& c(an&e of ?ey.

%anerdt 10
-. A**+:.,, MA N,N 'AN',
Sonata Alle&ro
#+V+*,;M+N'
# '

.M ."
'
' #
#
' #

$+1I A fQ e : 4 fQ cQ fQ # A
MMI 93 93 113 120 122 123 128 170 177 172
,#A
;0.AS+I 1 2 3 7 8
$+1I # a A A A
a +
A
MMI 232 270 283 289 220
+Aposition ;(rase 1 is eAtended fro" 6 4ars to 2 4ars in oda ;(rase 1 .
oda ;(rase 3 is +Aposition ;(rase 1 >it( t(e .esponse in 'onic EAF for t(e first ti"e.
oda ;(rase 7 consists of t>o 2=4ar p(raselets t(at eAplore t(e .esponse to '(e"e -.
oda ;(rase 8 is t(e final state"ent of '(e"e - >it( N, foray into #o"inant E+F.
%anerdt 11
-. A**+:.,, MA N,N 'AN',
$ey .elations(ips in t(e #e6elop"ent
Alt(ou&( %eet(o6en "o6es t(rou&( ten ?eys o6er t(e course of t(e journey of
t(e #e6elop"ent, eac( ?ey 4ears a si&nificant relations(ip to t(e one anot(er as >ell
as t(e 'onic ?ey and, and t(ese relations(ips propel t(e piece 4ac? to t(e ine6ita4le
'onic. '(e #e6elop"ent 4e&ins 4y "o6in& fro" A Major into t(e related "inor
?ey of f#. Alt(ou&( so"e analyses of t(is piece clai" t(at t(e #e6elop"ent 4e&ins
in C# Major, a deeper eAa"ination re6eals t(at t(e Q pedal t(at runs fro" "". 98=
109 is in fact a 6ery dra>n out #o"inant='onic c(ord pro&ression presentin& V=- in
f# "inor. '(is s(ould not 4e surprisin& considerin& t(at t(e relations(ip 4et>een
#o"inant and 'onic is really t(e su4ject of t(e entire >or?.
%eet(o6en doesnGt >or? directly t(rou&( t(e ircle of Fift(s. After ten 4ars in
f# "inor, (e "o6es into e "inor in ". 113, stayin& in t(at ?ey for anot(er ei&(t 4ars.
A "odulatin& se@uence t(en 4rin&s us t(rou&( G Major, b "inor, and 4ac? t(rou&(
f# "inor 4efore arri6in& for a s(ort ti"e in c# "inor at ". 128. After a siA=4ar
p(rase in t(at ?ey, t>o four=4ar p(rases in f# "inor and t(en D Major 4rin&in& us
4ac? to A Major for t(e .ecapitulation.
$ey .elations(ips in t(e oda
'(e oda of M6"t - 4e&ins >it( an ei&(t=4ar p(rase in # Major follo>in& t(e
surprisin& 4ut proportionate "odulation at t(e end of t(e .ecapitulation. After
searc(in& for resolution in t(is ?ey, >e return to a, t(e "inor 'onic "ode, in ".
236. He se@uence 4ac? to A Major, and fro" t(ere to t(e end it is 'onic A to
#o"inant E 4ac? to a resoundin& 'onic A, our ine6ita4le destination.
%anerdt 12
--. S0+.S,I A**+:., M,*',
.ondo
A % A % A coda
MMI 1 109 199 308 393 808
A
'0+M+I - -- --- - ErecapF
;0.AS+I 1 2 3 7 8 1 2 3 7 1 2 3 7 8 1 2
$+1I a a a e e a a a a a a a a
a e #
a a :

MMI 1 2 19 21 28 31 38 39 79 89 62 69 91 97 22 99
%
;0.AS+I 1 2 3 7 8 6
$+1I A A + A A A
MMI 109 128 171 183 161 199
,#A
'0+M+ -
$+1I a
MMI 801=819
%anerdt 13
No "odification >(atsoe6er is "ade to ;art A or to ;art B in any repeat.
--. S0+.S,I A**+:., M,*',
$ey .elations(ips in ;art A
-t is in ;art A of t(e Sc(er3o t(at %eet(o6en really eAplores t(e "inor "ode
of t(e 'onic A. '(e"e area - is pri"arily in a "inor, 4ut drifts 4riefly in and out of
its relati6e, C Major, for four p(rases. -n ;(rase 8 , t(e transitional p(rase t(at
4e&ins in ". 28, >e "odulate into e "inor, t(e #o"inant in t(e ?ey of A. 0ere >e
can see t(at e6en t(ou&( t(is "o6e"ent is a .ondo in t(e for"
A=%=A=%=A=coda, t(ere are sonata=for" relations(ips >it(in t(e sections.
%eet(o6en 4rin&s us to t(e #o"inant in order to introduce t(e Second '(e"e in t(e
#o"inant ?ey.
'(e"e area -- in ;art A consists of four p(rases. ;(rases 1 and 2 are
four=4ar p(rases in t(e #o"inant ?ey of e "inor. ;(rase 3 is anot(er four=4ar
p(rase t(at (as returnd to t(e 'onic ?ey of a "inor. ;(rase 7 ta?es us for t(e first
ti"e in t(e entire piece on a proper jaunt t(rou&( t(e ircle of Fift(s, "o6in& fro"
a "inor in ". 73 t(rou&( D Major and G Major to arri6e conclusi6ely in
C Major in ". 81.
-n '(e"e area ---, %eet(o6en 4e&ins to "iA up t(e p(rase len&t(s. /p to
t(is point, all t(e p(rases in M6"t -- (a6e 4een sy""etrical four=4ar or ei&(t=4ar
p(rases. '(e"e area --- 4e&ins >it( a siA=4ar p(rase in C Major, t(en returns to a
"inor for a four=4ar response p(rase. ;(rase 3 is a four=4ar p(rase in a "inor t(at
stays suspended on V. '(e neAt p(rase re"ains in a "inor, 4ut lasts only t(ree 4ars
4efore it is o6erlapped 4y ;(rase 8 , still in a "inor, >(ic( lasts 9 4ars. Finally in
"". 22 >e arri6e 4ac? in '(e"e area - for a sort of "iniature .ecapitulation of an
eAtended ;(rase 1 fro" t(e 4e&innin& of t(e "o6e"ent, roundin& out ;art A in a
"inor, a&ain >it( so"e dips into C Major, 4ut al>ays returnin& to a.
$ey .elations(ips in ;art %
;art % features only one t(e"e t(rou&(out, and it 4e&ins >it( t>o
state"ents of t(is t(e"e 4ac? in t(e Major "ode of A. ;(rase 3 &i6es us t(is
t(e"e in t(e #o"inant ?ey of E Major, and ;(rases 7 and 8 return to t(e 'onic
?ey of A Major.
$ey .elations(ips in t(e oda
'(e oda of t(is "o6e"ent is a s(ort irre&ular len&t( nineteen=4ar p(rase
re"iniscent of '(e"e area - 4ut >it(out forays into t(e relati6e Major. '(e oda
cadences si"ply, @uietly, and finally in a "inor.
%anerdt 17
---. A#A:-, AN'A%-*+ =
A**+:., V-VA+
-ntroduction ! Sonata Alle&ro
+O;,S-'-,N
'0+M+I - -- ---
;0.AS+I 1 2 3 1 2 1
$+1I A A A + + +
E#F E#F + APa
EAF EAF %
MMI 19 29 37 76 61 91
.+A;-'/*A'-,N
'0+M+I - -- ---
;0.AS+I 1 2 3 1 2 1
$+1I A A A A A A
E#F E#F + A
EAF EAF
MMI 112 120 129 172 189 169
+Aposition ;(rase 3 is 12 4arsR +Aposition ;(rase 3 is eAtended to 18 4ars.
+Aposition ! .ecapitulation '(e"e -- ;(rases 3 are t(e sa"e
for 6 4ars, t(en ela4orated upon in t(e .ecapitulation.
%anerdt 18
---. A#A:-, AN'A%-*+ =
A**+:., V-VA+
$ey .elations(ips in t(e +Aposition
'(e +Aposition of t(e t(ird "o6e"ent returns to t(e Major "ode of 'onic
>it( t>o state"ents of an ei&(t=4ar pri"ary t(e"e in A Major. -n 4ot( p(rases,
%eet(o6en (ints at tonici3in& t(e Su4=do"inant at t(e end of ". 27 and ". 73, 4ut
i""ediately returns confidently to 'onic. ;(rase 3 is a transitional p(rase t(at
tra6els t(rou&( t(e ircle of Fift(s fro" A Major t(rou&( E Major to cadence in B
Major.
For '(e"e area --, %eet(o6en (u"orously ta?es a step 4ac? around t(e
ircle of Fift(s to t(e #o"inant ?ey of E Major, as if to say, B>(oops=a=daisyTC
;(rase 1 is a 4it (ar"onically unsta4le, pausin& suddenly on ii as if searc(in& to
no a6ail for V, e6en (intin& at % Major 4ut not co""ittin& to "odulation. He
finally find solid &round in ;(rase 2 , >(ic( is fir"ly planted in E Major.
'(e final t(e"e area of t(e +Aposition is a >anderin& transitional p(rase
lastin& siA 4ars t(at 4rin&s us fro" E Major 4ac? to 'onic A Major for t(e repeat of
t(e +Aposition. '(e second endin& 6ersion also lasts siA 4ars 4ut cadences in t(e
"inor "ode of 'onic a "inor.
$ey .elations(ips in t(e .ecapitulation
'(e first t>o p(rases of t(e .ecapitulation "i"ic t(e +Aposition eAactly
>it( ei&(t=4ar p(rases in A Major. ;(rase 3 is identical eAcept t(at it "o6es
t(rou&( only A Major to cadence B Major.
'(e"e area -- a&ain leaps up a ;erfect Fourt( to 4e&in in A Major, statin&
t(e secondary t(e"e "aterial once a&ain in t(e 'onic ?ey, "aintainin& t(e sa"e
4alance of relations(ips as t(e +Aposition.
'(e final transitional t(e"e of M6"t --- in t(e .ecapitulation lasts a&ain siA
4ars 4ut rests co"forta4ly in A Major to lead into t(e oda.
%anerdt 16
---. A#A:-, AN'A%-*+ =
A**+:., V-VA+
-ntroduction ! Sonata Alle&ro
-N'.,#/'-,N
;0.AS+I 1 2 3 7
$+1I + + + A
% A
+
MMI 1 8 9 17
#+V+*,;M+N'
. .


.
# '
.
. .
M "

$+1I a d & : & F c A
MMI 99 99 20 21 22 29 92 96 107 102
,#A
'0+M+I - --- - - -
;0.AS+I 1 2 3 7 8
$+1I A A A A A
#
A
#
MMI 193 121 129 198 209
%anerdt 19
---. A#A:-, AN'A%-*+ =
A**+:., V-VA+
$ey .elations(ips in t(e -ntroduction
'(e -ntroduction to M6"t --- is a s(ort 4ut 6ery lyrical inter"e33o
consistin& of four p(rases of une@ual len&t(s. ;(rase 1 is a four=4ar p(rase in t(e
#o"inant ?ey of E Major. '(is is t(e first ti"e in t(e piece t(at >e (a6e truly
tonici3ed any ?ey ot(er t(an AR t(is -ntroduction ser6es as a 4rief respite fro" t(e
insistence of t(e 'onic of A t(rou&(out t(e sonata. ;(rase 2 is also four 4ars lon&
and ta?es us fro" E Major to its #o"inant partner, B Major, t(en 4ac? to E Major.
;(rase 3 is fi6e 4ars lon& and leads to A Major, 4earin& a Su4=do"inant
relations(ip to + Major. ;(rase 7 is also fi6e 4ars lon& and is in A Major, and
e6ol6in& in c(aracter fro" Su4=do"inant e6entually 4ac? to t(e once=a&ain
inescapa4le and ine6ita4le return to A Major as t(e ulti"ate 'onic ?ey.
$ey .elations(ips in t(e #e6elop"ent
'(e final #e6elop"ent of t(e Sonata 4e&ins in ". 99 in a "inor and >inds
predicta4ly t(rou&( t(e ircle of Fift(s to d "inor t(en g "inor. -n ". 21 it
s>itc(es "odes into G Major 4ut returns al"ost i""ediately to g "inor. A
se@uence >it( an insistent pedal : 4e&innin& in ". 22 "o6es us into C Major t(en
furt(er around t(e ircle of Fift(s to F Major, 4efore returnin& to C Major in ". 96.
After a 4rilliant ei&(t=4ar p(rase in Major, >e s>itc( "odes into c "inor, >(ic(
leads 4ac? once a&ain to its .elati6e Major, our (o"e 'onic ?ey of
A Major, fro" >(ic( >e >ill not stray in any si&nificant >ay for t(e rest of t(e
piece.
$ey .elations(ips in t(e oda
'(e final oda features fi6e p(rases fro" 6arious t(e"e areas of t(e
+Aposition. ;(rase 1 is an ei&(t=4ar p(rase in A Major fro" +Aposition '(e"e
area -. ;(rase 2 is t(e final state"ent of t(e siA=4ar transitional p(rase, '(e"e
area ---, in A Major. ;(rase 3 ta?es %eet(o6enGs final (ar"onic journey for t(e
sonata, tauntin& us 4y tra6elin& fro" A Major to D Major to A Major to D Major.
;(rases 7 and 8 confir" our lon&=a>aited eApectation for t(e ulti"ate &rand
cli"aA in A Major.
%anerdt 12
M,'-V+S ! '0+M+S
%anerdt 19
M,'-V+S
-t s(ould 4e a4undantly clear 4y t(is point t(at t(e inno6ation in t(is sonata
does not lie in t(e real" of (ar"ony. -t is %eet(o6enGs use of "oti6ic "aterial
t(rou&( t(e sonata t(at is unprecedented and re"ar?a4le. '(ree "ain "oti6es for"
t(e 4asis for nearly e6ery t(e"e and p(rase in t(e pieceI
Moti6e A
A: 1 8
Moti6e %
A: 8 6
Moti6e

A: 3 8 7 3
'(ese "oti6es are first introduced 4y t(e cello alone in ". 1, si&nifyin& t(eir
i"portance for t(e duration of t(e piece 4y t(e si"plicity >it( >(ic( t(ey are first
statedR %eet(o6en does not >is( to distract fro" t(e" >it( polyp(ony. -n (is
"onu"ental essay re&ardin& t(e auto&rap( and ot(er ori&inal source "aterial for
t(is sonata, *e>is *oc?>ood >ritesI
BHit( one stro?e, t(is openin& p(rase E"" 1=12F esta4lis(es certain conditions t(at 4ear
si&nificantly on t(e re"ainder of t(e "o6e"entI it presents t(e pri"ary "oti6ic "aterial
for t(e "o6e"ent as co"ponents of a self=contained linear se&"ent first associated >it(
t(e Vcl alone in lo> re&ister, and it i""ediately esta4lis(es a 4alanced, co"ple"entary
relations(ip 4et>een t(e t>o instru"ents for >(ic( e6en a crude outline s(o>s a
sy""etrical partitionin& of t(e first t>enty=four "easures, di6ided into t>o lar&er
p(rases.C E*oc?>ood 62F
*oc?>ood also re"ar?s upon t(e si&nificance of t(e fact t(at t(e &reatest nu"4er
of re6isions "ade to t(e sonata in t(e "anuscript are in t(e relations(ips of t(e
piano and cello parts to one anot(er in "atters of ran&e and 6oicin&, not in re=
>or?in& of "oti6ic ele"ents. '(is tells us t(at t(is "oti6ic "aterial is t(e
funda"ental 4asis for t(e entire sonata.
'(e neAt fe> pa&es atte"pt to &rap(ically illustrate t(e use of all "oti6es
and t(e"es t(rou&(out t(e sonata and de"onstrate t(eir relations(ips >it( t(ese
4asic "oti6es.
%anerdt 20
MVM' - '0+M+S
M6"t - '(e"e -I "". 1=6
A: 1 8 6 3 8 7 3 7 2 1 9 8 1 6 3 7 8
M6"t - '(e"e - .esponseI "". 9=2



A: 9 1 9 1 3 8
M6"t - '(e"e - adential Moti6eI ". 11


A: 7 3 2 7 3 2 7 3 2
'(is adential Moti6e connects t(e "aterial fro" t(e +Aposition to t(e #e6elop"ent.
M6"t - aden3a Moti6eI ". 27
'(is s(ort caden3a appears t>iceI once in t(e piano in ". 12 and once in t(e
cello in ". 12. '(is creates 4alance not only 4et>een ;(rases 1 and 2 and
;(rases 3 and 7 4ut also 4et>een t(e cello and piano as separate 4ut e@ual 6oices.
%anerdt 21
M6"t - '(e"e - = Second State"ent appears in t(e "inor "odeI "". 28=26
a: 1U 8 6 8 7 3 2
U Scale de&rees refer to t(e tre4le line of t(e piano part
M6"t - '(e"e --I "". 32=71
E: 8 3 1 8 3 = 1 3 8 = =

M6"t - '(e"e ---I "". 68=69
E: 1 1 2 3 1 2
3 1 E9F 6 7 3 G#:9 8 7 3 7 E: 8 7 6 8 7 3
%anerdt 22
'(e final +Aposition '(e"e is dra>n fro" t(e adential Moti6e of ". 11.
o"pare Moti6es A V % in M6"t -
Moti6es A V % in 'ransition to #e6elop"entI "". 29=90
B: 9 8 M Q7 8 N 6 8
Moti6es A V % in ,penin& '(e"eI "". 1=2
A: 1 8 6
Moti6es A V % in #e6elop"entI "". 98=96
[ C#: 1 8 6 ]
f#: 8 2 3
,ne reason "any analysts "ay "ista?enly define t(is as Q Major is t(at
one could t(en apply t(e sa"e scale de&rees as '(e"e -. 0o>e6er, part of t(e
co"pleAity of t(is passa&e is (o> %eet(o6en transposes t(e "oti6es up a ;erfect
Fift( >(ile "aintainin& t(e sa"e relations(ips.
o"pare Moti6e in #e6elop"ent and +Aposition
Moti6e in +ApositionI ". 3
A: 3 8 3 2 3 1
Moti6e in #e6elop"entI ". 29

c#: 8 7 3 2 3 1

%anerdt 23
o"pare '(e"e -- >it( Moti6e A and '(e"e - .esponse
Moti6e A
1 8
'(e"e --

A: 8 3 1
'(e"e - .esponse



A: 9 1 9 1 3 8
o"pare '(e"e - .esponse >it( Final .esponse
'(e"e - .esponseI "". 9



A: 9 1 9 1 3 8
'(e"e - Final .esponseI "". 289
A: 3 7 2 6 9 1
'(e"e - .esponse leads to a 0alf=adenceR only 4y "odifyin& t(e Final
.esponse 4y startin& on scale de&ree 3 and in6ertin& it is %eet(o6en a4le to finally
resol6e t(e M6"t - (o"e to t(e 'onic for >(ic( it (as 4een searc(in&.
%anerdt 27
MVM' -- '0+M+S
A
M6"t -- A '(e"e -I "". 1=7
a: 8 1 2 3 2 1 2 3
M6"t -- '(e"e - is closely related to M6"t - '(e"e -. %eet(o6en leaps up a
;erfect Fourt( instead of a ;erfect Fift( EMoti6e AF in t(is "o6e"ent, 4ut continues >it(
Moti6e %, an ascendin& Major Second.
M6"t -- A '(e"e --I "". 31=37
B
M6"t -- % '(e"e -I "". 1=7
%anerdt 28
MVM' --- '0+M+S
M6"t --- '(e"e -R "". 1=7

3 1 9 2 1 2 3 8 7 3 7 3 2 Q1 2 1 9 6 9 8
M6"t --- Scale Moti6eI "". 37=38
M6"t --- '(e"e --I "". 76=79
M6"t --- 'ransitional Moti6eI "". 97=96
%anerdt 26
o"pare '(e"e - fro" M6"ts - ! ---
M6"t - '(e"e -I "". 1=7
1 8 6 3 8 7 3 7 2 1 9
M - V 6i N
M6"t --- '(e"e -I "". 1=7
3 1 9 2 1 2 3 8 7 3 7 3 2 Q1 2 1 9 6 9 8
M - V 6i N
o"pare M6"t --- '(e"e - >it( its Final .esolution ! M6"t - '(e"e -
M6"t --- '(e"e -
A: 3 1 9 2
M6"t --- '(e"e - .esolution
A: 1 6 8 9
M6"t - '(e"e -
%anerdt 29

A: 1 8 6
%anerdt 22
,N*/S-,N
%anerdt 29
*ud>i& 6an %eet(o6en<s Sonata in A Major for Violoncello and Fortepiano,
opus 69 is one of t(e "ost si&nificant >or?s for cello and piano. %eet(o6en ad(eres
strictly to t(e for"al and (ar"onic con6entions of t(e ti"e. '(e entire >or? is
anc(ored around t(e 'onic ?ey of A Major, >it( departures into t(e "inor "ode, a
"inor, its .elati6e ?eys, Major and fQ "inor, and t(e #o"inant ?ey of +. '(e
relations(ip 4et>een 'onic and #o"inant is eAplored in eA@uisite detail 4ot(
(ar"onically and "elodically. '(e "oti6ic "aterial t(at >ill for" t(e 4asis of nearly
e6ery t(e"e in t(e entire piece is introduced in t(e first t>el6e 4ars of t(e piece, t(en
re=i"a&ined t(rou&(out eac( "o6e"ent of t(e sonata, creatin& a unifyin& t(read
t(rou&( 4ot( t(e (ar"onic and "elodic aspects of t(e piece t(at sei3es t(e listener >it(
t(e desire to arri6e at t(e lon&=a>aited resolution. '(e e@uality of t(e 6oices and t(e
ric( lyricis" typical of %eet(o6en<s Middle ;eriod "a?e t(e Sonata in A Major a pillar
of t(e cello repertoire.
%anerdt 30
%-%*-,:.A;01
%anerdt 31
%-%*-:.A;01
A&"on, +ytan. B'(e First Mo6e"ent of %eet(o6enGs ello Sonata, ,p. 69I '(e
,penin& Solo as a Structural and Moti6ic Source.C '(e )ournal of
Musicolo&y Vol. 16 No. 3, New Perspectives on Beethoven Sources and
Style E1992F.
Anderson, +"ily, trans. and ed. '(e *etters of %eet(o6en. Vol. 3 *etter no. 190.
*ondonI MacMillan, 1961.
%adura=S?ode, ;aul. BA 'ie -s a 'ieI .eflections on %eet(o6enGs ;airs of 'ied
Notes.C +arly Music 16 No. 1 E1922F.
ra>ford, )udit( *ee ra>ford. B%eet(o6enGs Fi6e Wello Sonatas.C #iss. San
)ose State /, 1998.
Hepokoski, James. Beyond the Sonata Principle. Journal of the
American Musicoloical Society !ol. "" #o. $ %&''&(.
$er"an, )osep(, and Alan 'yson. '(e Ne> :ro6e %eet(o6en. Ne> 1or?I Norton,
1922.
$er"an, )osep(. '(e %eet(o6en Luartets. Ne> 1or?I Norton, 1999.
*oc?>ood, *e>is. %eet(o6enI Studies in t(e reati6e ;rocess. a"4rid&eI
0ar6ard /;, 1992.
Sc(er"an, '(o"as $. and *ouis %iancoll, eds. '(e %eet(o6en o"panion.
:arden ityI #ou4leday, 1992.