Form
Unlike a typical sonata, this piece consists of two highly contrasting movements:
- Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck (With liveliness and with feeling and expression throughout)
- Nicht zu geschwind und sehr singbar vorgetragen (Not too swiftly and conveyed in a singing manner) (cantabile)
The first movement is written in a 3/4 tempo, sounding mysteriously agitated and restless, described by Beethoven as 'a contest between the head and heart', based on the situation of the Count deciding whether he should marry a young Viennese dancer. It starts out with powerful chords, responded by more subdued material. The falling semitone, particularly the G-F sharp, dominates the first and second subject groups, and most of the episodic work between.
The second movement, a rondo in the tonic major, however, quiets down into a beautiful melody with a 2/4 rhythm. The two contrasting movements suggest an agitated situation calmed by restful contentness. Notably, Beethoven uses German tempo marks for both movements.
English composer Bramwell Tovey characterized the movement as one 'full of passionate and lonely energy'. This contrasting gesticulation of emotion is especially evident in the piece's discernible dialogical form, where the head exposes an idea which is thereafter disputed by the heart.
Read more about this topic: Piano Sonata No. 27 (Beethoven)
Famous quotes containing the word form:
“I do not mean to imply that the good old days were perfect. But the institutions and structure—the web—of society needed reform, not demolition. To have cut the institutional and community strands without replacing them with new ones proved to be a form of abuse to one generation and to the next. For so many Americans, the tragedy was not in dreaming that life could be better; the tragedy was that the dreaming ended.”
—Richard Louv (20th century)
“Women over fifty already form one of the largest groups in the population structure of the western world. As long as they like themselves, they will not be an oppressed minority. In order to like themselves they must reject trivialization by others of who and what they are. A grown woman should not have to masquerade as a girl in order to remain in the land of the living.”
—Germaine Greer (b. 1939)
“Uprises there
A mother’s form upon my ken,
Guiding my infant steps, as when
We walked that ancient, thoroughfare,
The Roman Road.”
—Thomas Hardy (1840–1928)