restricted access XIV: The Enjoyment of Fluency: Op. 10 Nos. 2 and 3, Op. 14 No.2, Op. 22, Op. 31 No.1, Op. 79
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v 0 00 The Enjoyment of Fluency OP. 10 Nos. 2 AND 3, OP. 14 NO.2, OP. 22, OP. 31 NO.1, OP.79 Not every work from the pen of a Beethoven can be as profoundly moving as Op. 111 or as totally integrated as Op. 13. The appeal of the opening movement of each of the sonatas included in this grouping is not so much soul searching as the enjoyment of wit, brilliance, and imagination. The first movements of Op. 10 No. 3, Op. 22, and Op. 31 NO.1 are sleek, unhindered in their forward momentum; those of Op. 10 No.2, Op. 14 No.2, and Op. 79 are only of a somewhat less untroubled character. Yet, with the exception of Op. 14 NO.2, each has a second or middle movement of emotional depth, the Largo e mesto of Op. 10 NO.3 being one of the darkest soul-probing pieces of music Beethoven ever contributed to the pianists's repertoire. Gp. 10 No.2 The first movement of Op. 10 No.2 resembles a patchwork quilt. The opening theme itself joins two contrasting ideas, the first of which, a four-measure segment of melodic bits and pieces, is relatively insignificant as a theme. Its immediate purpose seems to be providing a beginning for the piece. The eight measures that follow introduce an extended arched melodic line that picks up the opening melodic third and adds a dynamic swell, syncopation, and appoggiaturas. Everything prior to the C-major theme beginning in m. 18 sounds exploratory. The Sonatas 212 Key relationships, some introduced by sudden modulations, also fit into a patchwork pattern. The half cadence on the mediant is followed immediately by the theme in C major, which progresses still further to G major, where it is confirmed by six measures of movement back and forth between dominant and tonic. By this time, the mind no longer hears G major as the dominant of the dominant of F, because the activity, length, and span of the C-major section, mm. 18-30, have convinced our ears that the opening bars of the sonata were introductory. More abrupt is the change of mode from C major to C minor, fortissimo, in m. 41. The development, which begins with the cadential tag in A minor, then in D minor, followed by further working out in an array of keys, ends where it began, in D minor . Beginning the recapitulation in yet another key, D major, reestablishes the exploratory quality of the beginning of the movement. "Patchwork" also describes the seemingly capricious introduction of new keyboard figures that are just as capriciously dropped. The movement does not have a central dramatic point; instead it jumps from one idea to another with the agility of a comedian's mind, as well as a comedian's sense for timing and effect, caricature, and continuity. As for the sforzandos in mm. 31-35 (Ex. 14.1), where the modulatory urge has gone beyond the dominant ofthe original key, the purpose of the accents on c, the expected tonic, may have been to weaken the impression of G major. Or, the purpose may simply have been bizarre willfulness. If the four-measure opening was not important as a theme per se, it does supply the rising third that appears in the lyrical portion of the theme (Ex. 14.2a), the third within the half cadence on the mediant (Ex. 14.2b), as well as the thirds in the C-major episode (Ex. 14.2c-kin to the lyrical portion of the principal theme, the accompaniment figure of which is also constructed of thirds), in the second C-major theme (Exx. 14.2d and e), and in the closing theme (Ex. 14.2f). The thread of continuity in the development lies in the three-note fragment and the etude-like laughter (Exx. 14.2g and h), with its recurring suspensions relating back to the appoggiaturas in the lyrical phrase in the principal theme. As befits a sonata of this character, there is no slow movement, although the Allegretto is of a subdued nature. A long slur covers the wandering, circular movement of a melodic line that seems unable to find a stopping point. In contrast to the two-octave plus a third range of this line, the second phrase moves stepwise upward , as though hobbled with offbeat accents and clipped articulation. In response, the return of the first eight measures (mm. 16-38...


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