An Evolutionary View of Neapolitan Formations in Beethoven's Pianoforte Sonatas

8/2/2019 An Evolutionary View of Neapolitan Formations in Beethoven's Pianoforte Sonatas

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An Evolutionary View of Neapolitan Formations in Beethoven's Pianoforte Sonatas

Author(s): Harold ThompsonReviewed work(s):Source: College Music Symposium, Vol. 20, No. 2 (Fall, 1980), pp. 144-162Published by: College Music SocietyStable URL: http://www.jstor.org/stable/40374088 .

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Traditionalnd FreshApproachesoAnalysisAnEvolutionaryiewofNeapolitan ormationsnBeethoven's ianoforteSonatas

Harold ThompsonMississippitateUniversity

REFUSED TO PLACE BEETHOVEN'S WORKS IN PERIODS. He WOulddivide hem,nstead,nto wo ategories.The first,hatnwhich raditionalndrecognizedormontainsndgovernshethoughtfthemaster;ndthe econd, hatn which hethoughttretches,reaks, nd recreates,nd fashionsheformndstyleccordingo ts wnneeds nd nspirations.. . Beethovens ikethe ncient anus; ne of histwo aces s turned othepast, heothertowards hefuture.1These facesare in evidencewherever ne looks,whethertbe asearch nvolvingetailsor broaddesign.As Liszt's nalogyrelates oNeapolitan ormations,heprincipalocal oint fthis tudy, eethovencontinuesheuse oftheNeapolitanhord s he nheritedt, .e.,N6 V7 .On theotherhandhegives he hord ootpositiontatusndultimatelytreatstas a fundamentalhordwith elationshipsf ts wn nmajor swell s inminorkeys, herelationshipseingkeysmplied y tsfunda-mental ones. ollectivelyhesekeys onstitutetonal egionmadeofHI- v-bVI.Thisbrief resentationhows ome fthe volutionaryteps sBeethovenmoves verforwardndexpandshisuseofNeapolitan orma-tions obecome uildingtonesnhismammothtructures.Space limitationsermit resentingllustrative aterial rom nly1FranzLiszt, etters,ol.and ed. byLa Mara MariaLipsius), rans, yConstanceBach NewYork:HaskellHousePublishers,td.,1968),Vol. I, pp.369,492.


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NEAPOLITAN FORMATIONS IN BEETHOVEN 145four onatas:Opus 10,No. 3 in D Major; Opus 27,No. 2 in C-sharpMinor;Opus57in FMinor,ndOpus106 nB-flat ajor.Thefirstseofthebll - iv- bVIregion s theharmonic asisof a principalectionnBeethoven'siano onatas s nthedevelopmentection fthefirstmove-ment fOpus 10,No. 3,thedateofpublicationor hiswork eing1798.While heregion ppears nsomeofthe arlieronatas,hebolduseof tto build principalectionnthis onata ignifiesconfidencehat s notevidentnearlier sage. n the ight f what s tocome, tcouldeven ig-nify momentfdecision.The lastmovementfOpus 27,No. 2 furnishesxamples howingNeapolitan ormationsuxtaposedfirst ith heminor ominantntheexposition,heminor ubdominantn thedevelopmentection, ndfinally ith he tonic n therecapitulation. ecurringuxtapositionfNeapolitan ormationsith hetraditionalonalpillars o delineate hestructurefthismovements withoutrecedent.In Opus57, uxtapositionsnvolving eapolitan ormationsppearin the utermovementsndserve sa principalnifyingevicenotforsinglemovements inOpus27,No. 2 butfor he ntirework.Moreover,thefundamentalones f theNeapolitanhordgenerate elationshipsnmuch he ameway hefundamentalones fthedominantnd subdomi-nantgenerate elationshipsnMozart'sworks.t is this apability,uxta-positionsnvolving eapolitan ormationsotwithstanding,hat levatestheuseoftheHI - v- bVIregionnOpus57to a position ar nadvanceofprevious sesoftheregionnOpus 10,No. 3 andOpus27,No.2.Illustrative aterial rom he onatas numeratedhus ar ufficesopresent n evolutionaryiewofBeethoven's se ofNeapolitan orma-tions,lbeit omewhatruncated.woexamples rom pus 106 serve opresentnly glimpse f whathappens owards he nd of Beethoven'scompositionalxperience. pace imitationsreclude howing owhexa-chordal ormationselatingothe onic ndNeapolitanegions ermeatethe tructurefthe ntire onata.

Opus io, No. 3 in D MajorThe Opus 10,No. 3 Sonata hows hat heuse ofthebll - iv- bVIregion xpandsBeethoven'sonal pectrumo nclude herelated eys fbothmajor nd minor eys uilt nthe ame onic.AllfourhaveD as thehome onic. irDonaldTovey peaks othis ointn his nimitabletylesfollows:The firstasis fwider ey-relations thatmajorndminor eysnthe ame onicre dentical.he fact hat he o-calledrelative ajor'


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146 COLLEGE MUSIC SYMPOSIUMisa convenientoint fbackwardeference asnothingodowith hematter;t s anaccidenthat asmisled he onic-sol-faists,uthasmis-lednobody lse.NotAMinor, utC Minor s theminormode fC.2Inthe xamplellustratinghis ointEx. 1),Cis thehome onic. hedescendingcale,C Minorwith flattedeconddegree,mirrorshe as-cending cale,C Major.Romannumerals esignate eys s they elate othehome onic. heymay, fcourse, lsodesignateriads.Ex. 1.KeysnBeethoven'sonalpectrum

I ii iii IV V vi bVIIbVI v ivbill bll iNo cadencemarkshe nd ofthe xpositionn thefirst ovementftheD Major onata. nstead, epetitionsftheprincipalmotive raduallydrop he harps fthedominant ey nddeflectotheminormodeofthehome onic.A rise othedominant ecalls heopening ars f the onata,there eing fermata ver hedominant ere s in thebeginning. for-tissimoruption nB-flatbVI),a surpriseosaythe east, eadsto a se-quencebased on theNeapolitan egion, he first fthree ight-bareg-ments eing nB-flat. he last egmentn E-flat reaks he equence ndturns oa dominantreparationor he eturnfD Major n therecapitu-lation. n thebroadest ense, heprogressionfthe ntire evelopmentsection ollowinghedeflectionotheminormode s: - bVI- v bll -V7I. Example shows he ast egmentfthe equence n bll E-flatMajor).

Ex. 2. Beethoven,onata nD Major,Opus 10,No. 3, firstmovementPresto),measures 53-64.

1cljjjjjjjujjjjjjjinJjJjJjjyjjJJjJijwj^ij^jj^Q60] . _J r^ fg i

' li 3 T* 3 * -i\ 3 li tJ V I I I I

2DonaldF.Tovey, TonalitynSchubert,"n77i amStreamfMusic ndOthers-saysNewYork:World ublishingompany,959), p.147-48.


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NEAPOLITAN FORMATIONS IN BEETHOVEN 147Beethovenollowsraditionnthis onatamovementndturnsothedominantor he econdgroup nthe xposition.Whathappens fter heturn sperhapswithout recedent; eethovenssimplynableto resistdevelopment. deflectiono thedominantminoreads oa series ffour-barpassages ach of which onsistsffour onicizationsfregionsnthedominantminor, amely, ill, v, nd bll C Major,D Minor,ndB-flatMajor).This passagereturnsn therecapitulationn thetonicminor.Thuson either ideoftheNeapolitan egionnthedevelopmentheresasimilar se of theregion nwhichbill substitutesorbVI.Example3shows hereturnfthemajormodefollowingll B-flatMajor).

Ex.3. Beethoven,onatan D Major, pus10,No.3,first ovementPresto),measures1-93.

m.Ml P i^ & . C cresc-

1 $V}tfT^X1J'^'1I>nfbyTlrFri*1j j i) 0 it, I ,^ f f r r *\d fii,^, n fv%it,"jjjjy'M,^ FFtpm\dj 'ijjjUjjJTJ^Ujtjjjjjj,TheprogressionutliningheNeapolitanegionnthedevelopment

ofthefirstmovementeturnsnthefinalmovement,gain sa sequenceand,again,followingsudden ruptionn B-flatbVI) Ex. 4). It consti-tutes he econd pisode ftherondo.Thus,theprogressionccurs tap-proximatelyhemidpointfeachofthe utermovementsndservess aunifyingactoror he ntirework.talsoplays n mportantole n coun-terbalancingheoutermovementsfthe onata. he motive tthebegin-ning f therondo s an inversionftheopeningmotive fthefirstmove-ment.Asa result,hedescending rpeggiationsntheupperregisternthe ettingf theprogressionntherondo ounterbalancehe scentsnthe ower egistern thedevelopmentectionfthefirst ovement.I citeunifyingactors ecurringnseparatemovements ith ometrepidationecauseTovey, ven nthefaceofcogent vidence, id notbelieve hat uchthings appen nBeethoven's onatas.RogerSessions,


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148 COLLEGE MUSIC SYMPOSIUMEx.4. Beethoven,onata n D Major,Opus 10,No.3,fourthmovementllegro(Rondo),measures 1-40.

p a ^T*^ p t>N r ,-_*!h ^""fc fl< JTTi tj*Jl A(Bp^HL*v11LJ->^j *if-_*!fhp pr-Ifl


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NEAPOLITAN FORMATIONS IN BEETHOVEN 149profound seoftheuxtapositionf a tonicwithtsNeapolitannOpus57.Thusthe itlesmore ppropriateor he ater onata. ince find he"Appassionata"ingularlyppropriateorOpus57,1willnot ryo startfadbyreferringoeither onata s the Neapolitan." ut do nothave ocallOpus27,No.2 the Moonlight."Traditional sageoftheNeapolitan ixth ppears nthefirstmove-ment fOpus27,No.2intheN6 V7 progressioneginningnmeasure3ofExample .Compare his ranquileginning ith hepowerfulweepEx. 5.Beethoven,onata nC-sharpMinor, pus27,No.2,first ovementAda-gio ostenuto), easures -5.$ ft j jjJiJJJJ JJJJppJ 3 /y .y J Iw -m wsemfirepp - en t sordini i.e.conPeddle]

If" .V.TT (S(.,.n,,!o^)

Ex. 6. Beethoven,onata nC-sharpMinor,Opus 27,No. 2, thirdmovement(Prestogitato),measures 76-83.

- - - - - f" 2 tt-#L # ^ ^ Jtt FJL1.T...J (b t ^^ ^X-J jfl ^

*/ 1 30 ./spfljjty^^ _: : 3-t|^^ lit S_] t iTt 1.^"'


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150 COLLEGE MUSIC SYMPOSIUMofthepassage n which ssentiallyhesameprogressionppears n asomewhatmore laborateettingnthe pproach o thefinal adence fthe finalmovementEx. 6). While heprogressiontself emains radi-tional,he reatments nkeepingwith he maginativesesofNeapolitanformationsneachof heprincipalectionsf he losingmovement. itheachchord illingwo ars, heprogressions,beginningn measure 77:iv N6viid/Vi6 V7 leadingnto closeofeleven ars ftonic-dominantexchange ver4a onic edal.Beethoven reakswith raditionn hisuseofNeapolitan ormationsinthemainbodyofthefinalmovement here hey ecome powerfulfactorndelineatinghesections fthe sonatamovement.he firstfthese ormationsurnishes ost f thematerialor he econdgroup nthe exposition. ts uxtapositionwiththeminordominantG-sharpMinor) Ex. 7)comes ssomewhatf surprise. s the ruptionn bVI ntheOpus 10,No. 3 Sonata llustrates,eethovensnotbashfulwhenhedoessomethingew nd different.he fortissimorash n theNeapoli-tan sixth n measure33 furnishes notherbold example.The three-measure lourishn the hord hat ollows his rash nly o berepeatedafter deceptivelose s, nsofar s I know,withoutrecedent. listener,even nunwaryne,grasps heform-delineatingignificancef this as-sagewhen treturnsnthe onic n therecapitulation.xample runs oconsiderableength o show how the elaborationsn theNeapolitandominate he econd roup.Note hat he xtended lourishulminatesna traditionaladence nvolvingheNeapolitanixthmeasures1-43).YetanotheruxtapositionnvolvingNeapolitan ormationppearsinthe entral ortionfthedevelopmentection. his ection eginswiththeopening heme n tonicmajortreated s thedominant f F-sharpMinor.The minor ubdominanteymoves oD Major itsbVI) as thedominantf tsNeapolitanndreturnsoF-sharpMinor ollowingbriefexcursionnG Major itsbll) (Ex. 8). The useof theprincipalheme fthe econdgroup stablishesnunequivocal inship ith he ther rinci-pal sections fthismovement.he overall reatmentf theformnthismovementurnishessolidbasis or proposal hatOpus27,No.2 is theimpetus or he reation fOpus57.

Opus57 inFMinorRudolphReti howshow ll ofthethemesnBeethoven's pus 57grow ut ofthemotivicntervalsn itsopeningbars, hechiefntervalamong hem eing heminor econd.4While am more r less nagree-4Thematic atterns n SonatasofBeethovenNew York: The MacmillanCompany,1967), p.77-78.


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NEAPOLITAN FORMATIONS IN BEETHOVEN 1 1Ex. 7. Beethoven,onata nC-sharpMinor,Opus 27,No. 2, thirdmovement(Presto gitato),measures 6-44.

4 i :> 4* ''."..i

* I \ 14..." I* " *4...!

[j-^IWceaTrrcrrrrre^e!ifJfT|f 7< r/r.sr. 35] Z1^^

- ' p : n'sc.P^^p^l.^^ p : isr^l ^_ _______^m r * * '% =

4 ft....! 14 14^] j'ffljjiiJjud; t f v f v v v V 33333^] j; t f v f v v v V 2 3ryof ; ; "">

T4 4 2


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152 COLLEGE MUSIC SYMPOSIUMEx. 8. Beethoven,onata nC-sharpMinor,Opus 27,No. 2, thirdmovement(Prestogitato),measures 5-83.

|^^_Ji33JJ33JJJJJ13|JTPJJJ3JWJTPijH' r r L/lr if f r P .rlr r~r^[j(MA r r I ir r \ fh \ j.^j j J W- l

mentwithReti'sproposals egardinghe contributionf the thematicprocess oorganic rowth, amnonethelessuzzledbyhis almost otaldisregardor time-scalenhis nalyticaliscussions.mightddparen-theticallyhatdisregarding temporal equenceor musical ause-and-effectsno esspuzzlingnanalysesf erialmusic. am convincedhat oone can seethatBeethovens a radical omposer orhistimewithoutnunderstandingf howheoperatesna harmonicime-span.hisconvic-tion ompelsme toadd toReti's roposalsmy wnproposal hat he pen-ingbars fOpus57alsogeneratehe onal rameworkf he ntireonata(Ex. 9).Ifoneacceptshegenerativeowers ftheNeapolitanhord sa pat-ent harmonic act, ne can see that hetonic-Neapolitanuxtapositionstated t theoutset fthe onatagenerates eys hatmakeup thetonalframeworkftheentire onata.Bysuperimposinghetones f thetwochords nthirds,esignatinghekey hat achtonegenerates,ndshow-ing he elationfeach tothehome onic,hefollowingeys esult:G-flat,bll; B-flat inor,v;D-flat, VI;FMinorhome onic);A-flat,ill; andCMinor, .If one shouldquestion hat he fundamentalonesof theseuxta-posedchordsmply eys, eethoveneaves ittle oubt fhis ntentionsn


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NEAPOLITAN FORMATIONS IN BEETHOVEN 1 3Ex. 9. Beethoven,onata n F Minor,Opus 57,firstmovementAllegro ssai),measures -13.

JJJ'y.jM'J-M \ I ,

ijf^r^> ^" ir r p^ r'rrrir> v *7k 8 " - - m11 r*-j ^^; i: i i i*^ ^. == - - pocoritardand? fa tempoJ I i , 'L W WW

thedevelopmentection fthefirst ovementEx. 10)where e ines utthe impliedkeysas tonicizedregions n symmetrically-arrangede-quences neither ideofthe onic,he onictselfeing bsent. heoreti-cally, onetheless,he onic ies tthe enter f he wo equences,hefirstending third bove tonA-flat,he econd eginningthird elow nD-flat.Working oth forwardnd backward rom hecenter erhaps x-plains he ymmetryfthepassage nthe learest ay.Turning ackward rom -flat,he equence xtendsnsegmentsythirds rom Minor o E Minor, n indirect eapolitan elationo thetonic. roceedingorward rom -flat,he econd equence ontinuesnsegmentsy ixths rom -flatMinor oG-flat ajor, hus ompletingheoutline ftheNeapolitan egion. crucial oint or heunderstandingfthe ymmetricalesign fthedevelopmentections that hains fthirds


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154 COLLEGE MUSIC SYMPOSIUMEx. 10a.Beethoven,onata nF Minor, pus57,firstmovementAllegrossai),beginningf thedevelopmentn E onopening hememeasures5-78); hefirstsegmentfthe equencene (measures9-82).

...I (Ped sim ie)

j}--^ ........~~. j

4 14

\ P tfp *

A (legato ed.) sfP

} _____ S//* diminuendo PP HUl^^^^^r^gjt_____ - i 1, jujjg(orsixths) an utfromhe enterndextendneachdirectionowithinminorecond fthehome onic.An outline ftheformfthismovementaccompanieshe ext s anaidforocatingtructuraletails.NowBeethoven'sntentionsreclear.These tonicized egions ro-jectthekeys hat reto serve s the onal rameworkf the ntireonata.Theexpositionfthefirst ovement oves rom Minor oA-flat ajorandthendeflectsoA-flatMinor. he middlemovementurns oD-flatand there t remains. he exposition fthefinalmovementroceeds


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NEAPOLITAN FORMATIONS IN BEETHOVEN 1 5

) (PP) u- h^P' iila' [ ' l.hf1 ~

Egfr i h 11 ^ *** I. I JjtJ)J-*d5jj1 "! tiJ-iI31 - rrJf T T T * ' ' ' it4^> ri^l ft1u* ttt ~^ ^ I^=tjt tit LJ-9:ttFf I'r j f\j p i i i tifflFftg- tity *#*T ' I' >7fL?tiJ' J J J^

* it

...i jt it .[it. ".1. 1.' 1..I....L

lv;rrrrriiju-ij--^^JjJjJjjlii^. ujp...J* !*. '. 1.1. ftotsimile)from Minor o C Minor.The principal ey egion f thedevelopmentsectionnthefinalmovements B-flat inor. hefinal odatouches ponA-flatMajoronceagainbefore hefinaluxtapositionsf thehome onicwith tsNeapolitanwhich onclude he onata.Note he bsence fG-flat(theNeapolitan ey) s a keyfor principalection. or all its ndepen-dence s a fundamentalhord apable fgeneratingelationshipstthisstage f Beethoven'sareer, e is notready ousetheNeapolitan ey sthe onal asisfor principalectionutside f development.


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156 COLLEGE MUSIC SYMPOSIUMEx. 10b.Part fthedominantreparationorD-flatMajor, hekeyn which hefirstegmentfthe econd equence eginsmeasures 4-97).

HE tfi> ^*'.!.}* *...lj* *..!..! **..!..! * jt1..}

Ex. 10c.The movefrom -flatMinor oG-flatMajor, he nd of the econd e-quence measures 16-18).

Juxtapositionsnvolving eapolitan ormationsccur n Opus 27,No. 2 only nthe finalmovementnwhich hey perate nconjunctionwith heprincipalheme fthe econdgroup. nOpus57,uxtapositionsoccur n theoutermovements.n bothmovementshey ppear ncon-junctionwith heprincipalheme fthefirst roup.Thus,thetonic FMinor) ppears n numerousuxtapositions ith tsNeapolitanG-flatMajor). n addition o itsunifying owers, hisrecurringelationshipmarks hebeginningsftheexpositionndrecapitulationnbothmove-mentsnd thus ids ndelineatingheform.naddition,his elationshipalsoappears nB-flatMinor nthedevelopmentection fthefinalmove-ment. etanotherxample ecursnthis ection. his sF Minor G-flatMajor,not as i - b I, but as v - bVI in B-flatMinor.The lasttonic-Neapolitan elationshipomes nthecodaofthefinalmovementnthetraditionaladential ormula i - N6-V7- i twice epeated, heprece-dentfor hiskind fdramaticlaborationeading o a final losehavingbeen et nOpus27,No.2 (Ex.6).It is singularlyppropriate orBeethoven osummarizehe tonalpoiseofthis onatawith hisprogression,nd particularlyor his inalmovementecause heprogressionlays uch n mportantole nthe n-tiremovement. hereas eethoven ithholdsadences ltogethernthefirstmovementntilmeasure 38 at thebeginningfthe final ection


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NEAPOLITAN FORMATIONS IN BEETHOVEN 1 7marked m llegro,adences bound nthefinalmovement.hey reeli-sions, o be sure, o as nottodisrupthecumulativerive, utthey recadencesnonetheless. he beginningf theexpositionllustrateshispointEx. 11).Ex. 11 Beethoven,onata n FMinor, pus57,thirdmovementAllegroma nontroppo),measures 0-28.

4S (1 3}^T^P i i f^^^^^î^T^î^ i [^^^^^^XbJK^^^JE^mm^^^ IZ_^Î^^^^^^^ ^^^^^^^Ê^^^J^^2ot^^^h hmbSKh^^^^^^h Lw^L^MÊ^MEflBjH^^K^^k

Ex.12.Beethoven,onata nFMinor, pus57,thirdmovementAllegroma nontroppo),measures 6-97.

h'^fi1 E\{f U (ir Ito p \2~^% J t ] I (simile) 4 3 r

^P ^ f ^


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158 COLLEGE MUSIC SYMPOSIUMEx. 13. Beethoven,Sonata in B-flatMajor, Opus 106, secondmovement,(Scherzo),measures 59-72.

^Q44p>!Jll|iJl"^f!"'|J11'^^Presto.

Mffoco ritard. HH .jq^, cr?5c.

Tempo ._


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NEAPOLITAN FORMATIONS IN BEETHOVEN 1 9to thetonic tprogressesoan N6 measure 6) which,nturn, eginsrepetitionfthepreviousenmeasures ithmore omplete armoniesnthenext ctave elow.Example12beginswith herepetitionnd culmi-nates he econd imena cadencemeasure 6).

Opus 106 nB-flatMajorWhile pace imitationsrecludepursuingheevolutionarytagesleading pto the Hammerklavier"coupleofexamples rom his onatawill ufficeo showhowfarBeethoven xtendsn hisuse ofNeapolitanformations.xample13 shows hat t this tage,Beethovensheds hetops"of theNeapolitan hord, s itwere, nd approaches he final a-dence fthe cherzowith longplay n B-naturalenharmonically-flat,the lattedecond egree) efore inallyllowingt oproceed othe onic.Example14shows heNeapolitan unctionings a secondaryomi-nant f V (!) inconjunction ith chain f uspensionsntheupperreg-ister. ollowinghiswildexcursionnmeasures 2-24,Beethoven on-formsotraditionnmeasures5-26.Andherewe eethe wo aces ftheancient anusnthebriefime-spanffive ars.A historyf music heoryhat racesharmonic etailsn an evolu-tionaryensehasyet o be published. historicalpproach f thiskindwouldnecessarilyocus pon mportantnnovativeomposers.twouldshown somedetail heharmonicanguage he omposersnheritedndthen etabout howing owtheymanipulatedetails o serve heir wnneedsand inspirations.his presentationocusing pon Beethoven'simaginativesesoftheNeapolitan egions an effortn this irection.

ExcerptsromheAssociatedoard ditionf heBeethovenianoforteonatas,dited y raxtonndTovey, sedby ermissionftheAssociatedoard f heRoyal choolsfMusic.


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160 COLLEGE MUSIC SYMPOSIUMBeethoven,Sonata in D Major, Opus 10,No. 3,firstmovementPresto)

Exposition Development Recapitulation CodaMeasures 1 124 Measures 124-183 Measures 1 3-294 Measures294-344FirstGroup (mm. Deflection ominor FirstGroup (mm. Because allof the1-22) mode 183-204) movements fD major I) Rise todominant this onatahavepause- (mm.124-32) thesametonicTransition mm. Sudden eruption n The recapitulationn [ '' fe^uVei?the22-53) B-flateading nto e- thismovements VI) tonic nev re as fo1"Second Group Second segment f se-(mm.53-124) quenceA Major (V) (mm. 149-56)withdeflec- G Minor iv)

tions ominormode (v)The following Thirdsegment f se- \tonicizations quence Iofregions n (mm. 157-64) f tx' lthe minor E-flat(^II) /mode are es-peciallym-portant:C Major (Bill) Dominantprepara- F major Bill) (mm.(mm. 72-78) tion for he return f 255-59)Ex d Minor iv) D Major (mm.165- gminor iv) mm.3* (mm.78-82) 83) 259-63)B-flatMajor E-flatmajor |>II)(bll) (mm.263-66)(mm.82-85)CadenceGroupin AMajor (V)(mm.86-124)(No cadence)


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NEAPOLITAN FORMATIONS IN BEETHOVEN 161Beethoven, onata inC-sharpMinor,Opus 27,No. 2,thirdmovementPresto gitato)Exposition Development Recapitulation CodaMeasures 1 64 Measures 65- 10 1 Measures 1 2-57 Measures257-200

FirstGroup Openingtheme n FirstGroup mm. A restatementf(mm.1-20) tonicmajortreated s 102-15) theprincipalC-sharp tnedominant f F- C-sharpMinor themes eads intoMinor sharpMinor iv) mm. a cadentialfor-65-7 1 mationwith lab-Second Group F-sharpMinormoves Second Group mm. oratearpeggia-(mm 21-64)

to D Major (VI) as 116-57) tionsontheG-sharp dominant fNeapoli- C-sharpMinor following ro-Ex 7 Minor mxta- tan and returns o F- juxtaposed with ts gression egin-posedwith ts *harPAllowinga Neapolitan D Ma- ning nmeasureNeapolitan A brief xcursion nG (|>II). jor) 177 WlthachMaior) /This section fthe de- chordfillingwo1velopmentmakes use measures:Ex. 8 ^ oftheprincipal heme iv-N -viid V-i6J f the secondgroup V7- losingwith\ mm. 71-86) x 6 elevenbarsofDominantprepara- tonic-dominanttionfor he return f exchangeover aC-sharpMinor mm. tonicpedal86-101)


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162 COLLEGE MUSIC SYMPOSIUMBeethoven, onata in F minor,Opus 57,firstmovementAllegro ssai)Exposition Development Recapitulation CodaMeasures 1 65 Measures65-135 Measures 136-203 Measures 204-61

FirstGroup (mm. Beginswith heopen- FirstGroup mm.1-22) ingtheme nE major. 135-51)F Minor i) Continueswith se- p Minor Coda reverses hequence,each segment p Major . orderofappear-beingbuilton the ance of thethe-fundamental onesof mesmthedevel-the tonic nd the opment ection,Neapolitan i.e.,theprincipalE Major (mm. 65-78) themeof the sec-Firsthalfofsequence 2nd S^up comesFv makesuse ofopening firstT,heclosesmove"theme ment losesas it!0a rx/r. . -. beginswithEx/r.Minor .m.78-. final tatementfA-flatinor(m.83) theopeningA-flatMajor (m. 87) them^openingTransition- Dominantprepara- Transposition f tran-Dominantprepa- tionforD-flatMajor sitionalmaterial otherationforA-flat is a transpositionf dominant f F {ontheMajor (mm.25- {measures25-37with dominantnot n t)34) Ex- hm\y light ifferences (mm. 163-73)lob ((mm.93-104)Sequence continues nrising ixthsmakesuseofprincipalthemeofthesecondgroupSecond Group D-flatm. 1 9) SecondGroupA-flatMajor Ex..B-flatMinor m-1 13) F MajorA-flatMinor xo^G-flatMajor (m. 117) p Minor(mm.35-65) (mm.174-204)

An Evolutionary View of Neapolitan Formations in Beethoven's Pianoforte Sonatas

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