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Beethoven: Sonate No. 8, “Pathétique”
2nd Movement (Adagio)
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Beethoven: Sonate No. 8, “Pathétique”
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Do you want to challenge yourself and dive into the depths of music? Learn and master the beautiful ‘Sonate No. 8, “Pathétique” 2nd Movement (Adagio)’ composed by Ludwig van Beethoven with a sheet music available for amateurs, students and professional pianists. Learn from the man himself and bring his brilliance to life. Beethoven’s mesmerizing music will captivate you with its complexity and its simplicity. So what are you waiting for? Get your very own copy of the sheet music and start your journey with the master himself!
Intermediate Format: Concert 9 x 12 inches. 11 pages.
Notes
Ludwig van Beethoven's Piano Sonata no 8 in C minor, op 13 commonly known as Pathétique (although commonly thought to be one of the few works to be named by the composer himself, it was actually named by the publisher, to Beethoven's liking) was published in 1799, though written the year before, when the composer was 27 years old. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. At the time of its publication, Beethoven was pleased with the title Pathétique for his op.13 piano sonata, although in later life, he came to regret it, claiming that all of his woks were pathetic. The Pathétique Sonata is perhaps the earliest of Beethoven's compositions to achieve widespread and enduring popularity.
It is widely represented on the concert programs and recordings of professional pianists. As one of the more famous Beethoven pieces, it has been incorporated into several works of popular culture The rondo theme of the second movement is one of the most beautiful and famous tunes in the repertoire. This theme is not merely pretty; it is, after the vicious first movement conclusion, a heroic if melancholy affirmation that life goes on, that beneath sorrow and pain, there is still grace and nobility.
This Adagio movement opens with the famous cantabile ("in a singing style") melody. This theme is played three times, interspersed with two modulating episodes: the first going from F minor to E flat major, the second from A flat minor to E major. With the final return of the main theme, the accompaniment becomes richer and takes on the triplet rhythm of the second episode. The brief coda's stylistic diversity is arresting: four bars of Romantic transcendence followed by a strikingly conventional 18th-century close.
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