Beethoven’s op. 113, no. 1 begins in the key of g minor. Examining first the periodic design, the first six bars work to establish the key with a series of prolongations of both the tonic and the dominant. Measure 7 moves us harmonically to the ending of the first phrase, which ends with a half cadence. The second phrase works very much the same way as the first. Measures 9-13 have the same melody and harmonic prolongations followed by a brief harmonic motion to a cadence in measure 16. Unlike the first phrase, the music returns to the tonic with a perfect authentic cadence. The similarities of these two phrases, both melodically and harmonically, give the music a parallel interrupted period (Example 1.) Parallel because of the repetition of the material in the right hand and interrupted because of the half cadence in measure 8 followed by the stronger perfect authentic cadence in measure 16.
Looking now at the sentential design of the first phrase, Beethoven presents the basic idea in the first two measures. Following an anacrusis the melody has a simple, downward stepwise motion. The bass line also moves in this manner, made possible by the prolongation of the tonic chord discussed above. The next two measures (mm. 3-4) is the re-statement of this basic idea. Beethoven slightly alters the restatement by lowering the material and by adding a moving alto line, which provides a stronger harmonic motion with the use of the It+6 chord. Together, the first four measures make up the presentation material. Beginning in measure 5, Beethoven begins the continuation section of the sentential structure. Measures 5-6 is a brief developmental section with increased motion in the right hand, contrary motion in the bass, and a crescendo that give shape to the phrase. The first two beats of each of these measures are dominant chords which move to tonic on beat three. While not cadiental, these dominant to tonic relationships help increase the musical drama. The music comes to a close in measures 7-8 with the move to the cadence. The left hand expands with large leaps to help achieve a strong sense of harmonic motion and eventually the resolution to tonic in measure 8. The sentential structure of 2-bar basic idea, 2-bar restatement (together making the presentation) combined with a 4-bar development/cadence gives the music a simple sentence structure.
Moving ahead to measures 37-52, Beethoven reuses much of the material. Both the periodic design (Example 2) and the sentential design are the same. The new music that is present is made using variation technique.
In measure 45, the start of the second phrase, Beethoven has taken the simple stepwise melody and introduces an appoggiatura on every beat that originally had a quarter note. Also, he takes the left hand quarter-note block chords from earlier and separates them into and 8th-note motive that is similar to an Alberti bass.
Writing this analysis has allowed me to apply the topics we’ve discussed in class on a real piece of music. Moving ahead, being able to write (and therefore discuss) phrases, periods, variation technique, etc. will allow be to better understand how the composer is constructing their music and will help me make more informed decisions of phrase shape and direction which will lead to move informed performances with the ensembles I conduct. Also, the process of writing a paper on an academic level with constrictions on the length of the paper will continue to push me to make my arguments clearer and more precise.