Piano Sonata No. 15 (Beethoven) - Structure

Structure

The whole sonata is in D major, and follows the typical four-movement form of the classical sonata.

1. Allegro
2. Andante
3. Scherzo: Allegro vivace
4. Rondo: Allegro ma non troppo

The first movement, Allegro, begins in the tonic major with a repetitive and monotone bass line sometimes described as "timpanic." This droning theme continues in various forms throughout the sonata. On top is the simple primary theme of the movement. It is very simple and quiet, yet cunning. Eventually, the work introduces a second, more tense melody in F-sharp minor, which builds up into a passage of constant quavers, on which is laid a rather simple, yet elegant melody. The development of the movement runs through various minor keys, ever becoming more dramatic and angst-filled as it compresses the main theme into a repeated one-bar rhythm, which gradually fades away. It then recapitulates back into the sweet and easy-going themes of the beginning.

The Andante movement is more forlorn and subdued. It is in D minor. The primary feature is the staccato semiquaver bass, giving the sense of a march. There is a slight diversion in the tonic major involving dialogue between a dotted, staccato rhythm and a gentle, rather playful set of semiquaver triplets. It then returns to the sombre tune with graceful harmonisation and variations of the primary melody. There is a sense of quiet solitude to it, but it is never menacing or overemotional. This movement was Beethoven's personal favourite.

The Scherzo is rather playful, and certainly humorous. The tune is joyous and cheerful yet straightforward. Its most important feature is the contrast between four long notes, each an octave apart, and a fast quaver melody. The frenetic trio, in B minor, repeats a simple four-bar melody eight times over, with a relentless broken octave/chord bass figuration adding harmonic, rhythmic, and dynamic intensity as the repeats progress. It provides a diversion to the blithe scherzo, contrasting sharply in tone and adding gravity to the prevailing humor. The movement as a whole provides an interesting comparison with the interlude of the second.

The final movement is a lilting rondo, and is probably the movement which comes closest to the sense of the word 'pastoral'. It sways and moves. Interestingly, out of not only his piano sonatas but all of his published works up to this point, this is the first time that Beethoven decides to write ma non troppo, therefore this instruction clearly means a lot to him. Some critics attribute the repeating bass line to a bagpipe, others to a dancing gigue. Beethoven employs various amusing, interesting and very adventurous episodes, all with different moods, rhythms, and harmonic texture. The finale, played a little faster than the allegro (Più allegro), can be termed as the only 'virtuoso' passage in the whole sonata. This exciting, brilliant ending rounds off what is generally a calm sonata.

Shortly after Beethoven wrote this piece, he pledged to take on a new path and direction.