Following an exposition that ends in the key of D Major, the development section begins in the parallel minor of the original key, g minor. The opening theme of the exposition, with its six-note motive is presented again, this time in a minor mode. Beethoven uses the same phrase structure in m. 64-67 as he did to start the piece but in m. 68 deviates from the original design. Instead of the continuation material from m. 5-8, Beethoven writes a brief sequence in the left hand that moves downward from G – F# – F. This first true development of the material also serves to foreshadow the overall design of the development section which moves down, stepwise, through salient and fleeting key centers. Adding to the ambiguity created in the left hand in m. 67-69, Beethoven uses a canonic texture in m. 69-72 which serves to further disorient the listener and, with a harmonic language centered around A, helps take the music towards the first arrival and departure point in m. 74.
This next section of the development section begins in m. 74 and continues through m. 85. Centered in the key of Bb Major, Beethoven reuses material found in the 2nd Thematic Area of the exposition. It’s worth noting that while the first section of the development was based on material that was in a major key during the exposition and then moved to a minor mode in the development, the music of this second section retains it’s original major key quality from the exposition. In addition to increasing the harmonic variance of the development, this sudden shock of a major key helps to reestablish order and helps the listener reorient themselves with familiar material. Once again, Beethoven uses the same phrase structure of the exposition (m. 26-29) for the first few measures of this section; beginning in m. 74 and ending with a half cadence in m. 77. Beethoven then starts to restate the second phrase in m. 78 but rather than moving to the authentic cadence as in the exposition (m. 30-33) the music in the right hand repeats the dotted-eighth sixteenth figure while the left hand reuses the G – F# – F motion from earlier, this time in reverse. This section (m. 78-80) continues to soften until a subito forte ushers in the next arrival and departure point in m. 81. It is only then that the right hand material in m. 78-80 was actually presenting the new key center of Ab Major with the repetitions of the dotted-eight C/Eb; a function not used in the exposition (m. 30-31).
Once again, Beethoven uses a new key and a sudden shift in dynamics to reorient the listener. The arrival and departure point in m. 81 (and it’s subsequent section from m. 81-97) is in Ab Major and is again based on the material from the opening theme. This time, however, Beethoven moves the melody to the left hand and introduces arpeggiated chords in the right hand. Rather than working to establish single key center in this section, Beethoven uses a series of sequences and fleeting key centers to slowly move the harmonic center downward by step. Beginning in Ab Major and then moving through g minor and f minor before arriving on a dominant-seven chord in Eb Major. By examining a larger section of the material it’s noticeable that Beethoven has been continuing to use the idea of downward, stepwise motion in the soprano voice as well. Beginning in m. 74 and continuing through m. 94 the top voice of the right hand has slowly been working its way downward.
This is the moment that Beethoven plays on the expectations of the listener. He has, up to this point, always introduced new sections with a change in key and dynamic. Beethoven also knows that listeners expect the end of the development to coincide with a dominant chord which helps set up the recapitulation and the return of the opening key. Using these expectations, Beethoven creates a false recapitulation in m. 99. Instead of a return to G Major, this section from m. 99-106 is in Eb Major. Since Beethoven uses the same phrase structure found at the beginning of the piece it’s possible the listener isn’t even aware of the trick until the sentential structure fails to reach a cadence and instead arrives at the dominant harmony of D Major in m. 107. By examining closely the right hand in m. 103-106, a brilliant piece of Beethoven’s composition can be discovered. Beethoven essentially moves the music band in time through the key centers of the development. The first note of each measure moves F – G – A(flat) – Bb and then finally D Major where the exposition ended. An extensive dominant prolongation (m. 107-124) uses a three-note motive based on the original six-note motive of the exposition and builds towards a fermata in m. 124 that finally brings the music back to G Major and the recapitulation.
As a conductor or performer it is important to study music not only for notes and rhythms but for the musical structure inherent in the work. Especially in music of the Classical Era which is so strongly built on phrases and overarching harmonic goals, it is the role of the musician to articulate the musical design to the audience. Thinking specifically about development sections: knowing where arrival and departure points take place, how material is related and developed from the exposition, and what (if any) deviations the composer takes from the traditional form and expectations are all important things to consider. Knowing the composers intent and technique is the only way to effectively share music with an audience.
