Tutorial 2 (Week 3 Assignment 2)

The titles of ‘Pathetic’ (Pathétique) and ‘Pastoral’, which were applied to Sonatas 8 and 15 have significant meaning pertaining to the works in question.

The word ‘Pathétique’ does not refer to the English word pathetic which is an adjective which has connotations of causing feelings of pity, weakness or sadness. Rather Pathétique in this case can be described as being touching, expressive, passionate with myriad elements of tragedy, compassion and anger. In short, containing very strong, vehement emotions.

The term ‘Pastoral’ refers to in this case a composition containing a rustic or bucolic subject, often with inclusion of countryside themes, i.e. the imitation of a shepherd’s pipe.

Piano Sonata No. 8 in C minor, Op. 13 Sonate Pathétique

Strong emotions pervade this entire sonata from beginning to end however the first movement has strong examples which fit with the ‘Pathétique’ title. The tonality of the sonata- C minor is a strong starting point as from the 18th -19th century this key is generally associated with strong feelings of passion or tragedy. Famous works include Mozart’s Mass in C minor, a work filled with strong emotions. The first movement opens with an introductory theme marked Grave. It begins with a dramatic tonic chord of C minor in the lower register of the piano which suddenly decays due to a marking of fortepiano with a series of dotted rhythms leading to the end of the first phrase. From the very outset the listener is drawn in by the drama created by the tonality and the unsettled rhythmic feeling created by the dotted rhythms. The phrases are written in such a way that allows for a very expressive performance of this introduction with opportunities for rubato and shaping of chordal melodies. Further on in the introduction more intense feelings are portrayed, with fits of sudden passion which is displayed through a sort of question and answer device within the different registers of the piano as well as sudden changes in dynamic range. For example a melodic, singing phrase in the higher register played softly is suddenly interrupted by fortissimo chords in the lower register with an emphasised dotted rhythm as well as a thickened texture. These effective musical devices displayed in the introduction already display many elements pertaining to the title ‘Pathétique’ with the dynamic contrasts, unsettled rhythm and textural elements contributing heavily.

Throughout the exposition, which is marked Allegro di molto e con brio the listener hears the consolidation of these wild, passionate emotions which were first present in the introduction. The ascending and descending nature of the opening of the exposition coupled with the constant rumble of the left hand octaves serves to invoke a wild, furious feeling which is present throughout this movement. Sudden changes in dynamics and well-placed crescendos all serve to enhance and preserve tension. The movement is built upon many areas of building to a climax and then sudden release. The theme from the Grave is injected throughout to allow for a reprieve and deeper, slower emotions and contrasts well with the Exposition’s theme. Beethoven uses elements such as dynamics, rhythm and texture in effective and efficient ways to invoke the feelings of anger, passion and tragedy encompassed by the word ‘Pathétique’.