Piano Sonata No. 23 (Beethoven)

"Appassionata" redirects here. For the 1974 Italian film, see Appassionata (film). For the album by Maksim Mrvica, see Appassionata (album).

Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata, meaning "passionate" in Italian) is among the three famous piano sonatas of his middle period (the others being the Waldstein, Op. 53 and Les Adieux, Op. 81a); it was composed during 1804 and 1805, and perhaps 1806, and was dedicated to Count Franz von Brunswick. The first edition was published in February 1807 in Vienna.

Unlike the early Sonata No. 8, Pathétique,^[1] the Appassionata was not named during the composer's lifetime, but was so labeled in 1838 by the publisher of a four-hand arrangement of the work.

One of his greatest and most technically challenging piano sonatas, the Appassionata was considered by Beethoven to be his most tempestuous piano sonata until the twenty-ninth piano sonata (known as the Hammerklavier). 1803 was the year Beethoven came to grips with the irreversibility of his progressively deteriorating hearing.

An average performance of the entire Appassionata sonata lasts about twenty-three minutes.

Form

The beginning of the first movement

The sonata, in F minor, consists of three movements:

Allegro assai
Andante con moto
Allegro ma non troppo - Presto

Allegro assai

	Piano Sonata No. 23 in F minor, Op. 57 (Beethoven), 1st Movement Performed in 2007 by Kristian Cvetković. Run time is ten minutes and one second
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A sonata-allegro form in 12/8 time, the first movement progresses quickly through startling changes in tone and dynamics, and is characterized by an economic use of themes.

The main theme, in octaves, is quiet and ominous. It consists of a down-and-up arpeggio in dotted rhythm that cadences on the tonicized dominant, immediately repeated a semitone higher (in G flat). This use of the Neapolitan chord (e.g. the flatted supertonic) is an important structural element in the work, also being the basis of the main theme of the finale.

As in Beethoven's Waldstein sonata, the coda is unusually long, containing quasi-improvisational arpeggios which span most of the [early 19th-century] piano's range. The choice of F-minor becomes very clear when one realizes that this movement makes frequent use of the deep, dark tone of the lowest F on the piano, which was the lowest note available to Beethoven at the time.

The total performance time of this movement is about 10 minutes.

Andante con moto

	Piano Sonata No. 23 in F minor, Op. 57 (Beethoven), 2nd Movement (Part 1), Andante con moto Piano performance by Arthur Schnabel in 1933. Run time is two minutes and 48 seconds Piano Sonata No. 23 in F minor, Op. 57 (Beethoven), 2nd Movement (Conclusion), Andante con moto Piano performance by Arthur Schnabel in 1933. Run time is three minutes and 16 seconds
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A set of variations in D flat major, on a theme remarkable for its melodic simplicity combined with the use of unusually thick voicing and a peculiar counter-melody in the bass. Its sixteen bars (repeated) consist of nothing but common chords, set in a series of four- and two-bar phrases that all end on the tonic. (See image.) The four variations follow:

Var. I: similar to the original theme, with the left hand playing on the off-beats.
Var. II: an embellishment of the theme in sixteenth notes.
Var. III: a rapid embellishment in thirty-second notes. A double variation, with the hands switching parts.
Var. IV: a reprise of the original theme without repeats and with the phrases displaced in register.

The fourth variation cadences deceptively on a soft diminished-7th, followed by a much louder diminished seventh that serves as a transition to the finale.

The total performance time of this movement is about 6 minutes.

Allegro ma non troppo - Presto

	Piano Sonata No. 23 in F minor, Op. 57 (Beethoven), 3rd Movement (Part 1): Allegro ma non troppo Piano performance by Arthur Schnabel in 1933. Run time is four minutes and one second Piano Sonata No. 23 in F minor, Op. 57 (Beethoven), 3rd Movement (Conclusion): Allegro ma non troppo - Presto Piano performance by Arthur Schnabel in 1933. Run time is three minutes and eleven seconds
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A sonata-allegro in near-perpetual motion in which, very unusually, only the second part is directed to be repeated. It has much in common with the first movement, including extensive use of the Neapolitan sixth chord and several written-out cadenzas. The movement climaxes with a faster coda introducing a new theme which in turn leads into an extended final cadence in F minor. According to Donald Francis Tovey this is one of only a handful of Beethoven's works in sonata form that end in tragedy (the others being the C minor Piano Trio, Piano Sonata Op. 27 no. 2 ("Moonlight"), Violin Sonata Op. 30 no. 2, and the C# minor Quartet).^[2]

The total performance time of this movement is about 7 minutes with the repeats and about 5 minutes without them.

References

↑ Schindler, A. (1970). Biographie von Ludwig van Beethoven. Reprografischer Nachdruck der Ausgabe Münster 1871. Georg Olms Verlag. p. 66
↑ Tovey, Donald Francis (1998) [1931]. A Companion to Beethoven's Pianoforte Sonatas. London, UK: The Associated Board of the Royal Schools of Music. p. 169. ISBN 1-86096-086-3.

External links

A lecture by András Schiff on Beethoven's piano sonata op. 57
Creation History and Discussion of Musical Content
Analysis of Beethoven's Appassionata Sonata on the All About Ludwig van Beethoven Page
Further analysis at BBC Radio 3
Recording of this Sonata by Serg van Gennip
For a public domain recording of this sonata visit Musopen

Sheet music

Piano Sonata No. 23: Scores at the International Music Score Library Project
Public domain score and midi file of the 2nd movement on Mutopia

Piano sonatas by Ludwig van Beethoven

Nos. 1–10 (Opp. 2–14)	No. 1 in F minor, Op. 2, No. 1 No. 2 in A major, Op. 2, No. 2 No. 3 in C major, Op. 2, No. 3 No. 4 in E♭ major, Op. 7 (Grand Sonata) No. 5 in C minor, Op. 10, No. 1 No. 6 in F major, Op. 10, No. 2 No. 7 in D major, Op. 10, No. 3 No. 8 in C minor, Op. 13 (Pathétique) No. 9 in E major, Op. 14, No. 1 No. 10 in G major, Op. 14, No. 2

Nos. 11–20 (Opp. 22–49)	No. 11 in B♭ major, Op. 22 No. 12 in A♭ major, Op. 26 (Funeral March) No. 13 in E♭ major, Op. 27, No. 1 No. 14 in C♯ minor, Op. 27, No. 2 (Moonlight) No. 15 in D major, Op. 28 (Pastoral) No. 16 in G major, Op. 31, No. 1 No. 17 in D minor, Op. 31, No. 2 (The Tempest) No. 18 in E♭ major, Op. 31, No. 3 (The Hunt) No. 19 in G minor and No. 20 in G major, Op. 49

Nos. 21–32 (Opp. 53–111)	No. 21 in C major, Op. 53 (Waldstein) No. 22 in F major, Op. 54 No. 23 in F minor, Op. 57 (Appassionata) No. 24 in F♯ major, Op. 78 (A Thérèse) No. 25 in G major, Op. 79 No. 26 in E♭ major, Op. 81a (Les adieux) No. 27 in E minor, Op. 90 No. 28 in A major, Op. 101 No. 29 in B♭ major, Op. 106 (Hammerklavier) No. 30 in E major, Op. 109 No. 31 in A♭ major, Op. 110 No. 32 in C minor, Op. 111

Unnumbered (WoO)	Three Piano Sonatas, WoO 47 Piano Sonata in C major, WoO. 51 (fragmentary work)

Spurious/doubtful (Anh.)	Sonatina in G major, Anh. 5, No. 1 Sonatina in F major, Anh. 5, No. 2

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