Analysis: Beethoven’s 30th Piano Sonata in E Major, Op. 109, Mvt. 1

I was initially very attracted to this piece when I first heard it in History of Western Music II. It strikes me as a piece out of time: it doesn’t sound like 1822. Like many of Beethoven’s late pieces, it inspired generations of composers, changing the musical landscape from the classical to romantic aesthetic.

Beethoven is known for altering the strict sonata form of the classical era, especially in his late works. The piece, which was composed between 1820 and 1822 (Beethoven died in 1827), is no exception. There is no exposition repeat, though Beethoven maintains the traditional modulation to the key of V between the first and second themes.

Additionally, the first theme melody is voiced differently during the recapitulation and, though the texture of the second theme remains the same, it is completely changed, containing a near harmonic mirror of its original form. The alteration is reminiscent of the third movement of the piece, which is based on a chordal texture and similar harmony. This is highly unusual, and, with Beethoven’s other developments, marked his move towards romanticism and away from the strict formal rules of classicism.

The first theme is based upon a traditional chorale tune that Beethoven modifies and changes rhythmically. Instead of a straight quarter note melody with chord accompaniment throughout, Beethoven gives the melody to both hands and alters the rhythm, changing the straight quarter notes to a series of sixteenth-dotted eighth followed by two sixteenths. Beethoven changes the time signature between the two themes, moving from 2 /4 to 3 / 4.

The second theme is quite contrasting, as I’ve noted, and is transitioned to with an arpeggiated diminished seventh chord. Beethoven employs, cleverly, then-advanced 19th century techniques for the modulation to the key of V for the second theme. The arpeggiated diminished seventh in E, D# diminished 7, becomes, by means of common-tone diminished relationships, a D# major arpeggio. D#, which is major III in B major, the key we’re heading to, is a major third away from B; Beethoven employs the chromatic-mediant relationship between D# and B, and so our D# major harmony nicely transitions to a B major harmony.

Besides all of this, this piece is beautiful. Call the harmonies what you will, Beethoven’s voice in this piece is that of a man who has endured immense suffering and relished in great genius. In 1822, the year this sonata was completed, Beethoven was nearly completely deaf, and most certainly could never hear this work. What tragedy, to possess such enlightenment, such art, and never be able to experience its richness.