Beethoven’s style of composition was divided into three periods: early, middle, and late. The later period (1816-1827) was much different than the first two not only because of Beethoven’s growing deafness, but because of the trouble he had trying to adopt his nephew Carl. The type of music Beethoven was writing during this time reflected his personal life and also his desire to push composition practices to their limits. The public was somewhat reluctant to accept this type of work particularly because the music was not meant to be beautiful, but to convey the truth (Galway, 163). According to Czerny: “About 1803, after Beethoven had composed Op. 28, he said to his friend Krumpholz: ‘I am dissatisfied with the works I have written so far; from now on I want to strike out along a new road.” (Schmidt, 168). This paper will attempt to define what Beethoven meant by the ‘new road’ of compositional practices during this time specifically focusing on two piano sonatas: Sonata No. 29 in B Major Op. 106 and Sonata No. 32 in C Minor Op. 111.
     Beethoven wrote 32 piano sonatas the largest amount of any other medium. It is possible to assume Beethoven wrote so many works for piano particularly because they were intended for his own use as a private performer (Nettle, 167). Op. 106 is the longest sonata of the 32 and one of the more difficult compositions (Schmidt, 175). According to Gordon this work represents the pinnacle of Beethoven’s sonata form (184) In a quotation by Marston, “Op. 106 represents Beethoven’s ability to control and integrate structure and detail on every level” (405-6). An announcement of the publication of this sonata which appeared in the “Wiener Zeitung” on Sept. 15, 1819 states that, “this work stands out above all other creations of this master not only on account of its rich and abundant imagination, but because in respect of artistic perfection and unified style it initiates, as it were, a new phase in Beethoven’s composition of piano works” (Schmidt, 179).
    Op. 106 is referred to as the “Hammerklavier” sonata which is the German word for piano, but unlike other piano sonatas when musicians refer to the Hammerklavier they are referring to this work (Gordon, 184) even though Beethoven used the Hammerklavier title for all his works written after 1817 (Marston, 404). The fact that Hammerklavier was attached to this sonata and no others was a mistake although it is distinguished from other sonatas for a number of reasons (Marston, 404). It is quite fortunate we still have access to this composition because the manuscripts of Op. 106 did not have a high survival rate. It was not as easily accessible to the public because Beethoven did not use the standard format desk sketchbook, but a combination of three pocket sketchbooks, loose leaves, and a bifolia (Marston, 406).
     Beethoven wrote Op. 106 during late 1817 to late 1818 (Sadie, 387). He dedicated it to the Archduke Rudolph (Schmidt, 175) specifically for the purposes of earning a commission because Beethoven was an independent composer who relied on a variety of patrons for support. He submitted a letter in 1819 which indicates that Beethoven was writing this piece approximately at the same time as Symphony no. 9 (Schmidt, 175). Op. 106 has four movements, three in the tonic key and the other in f-sharp minor. The movements are as follows: I. Allegro, II. Scherzo Assai Vivace, III. Adagio Sostenuto, IV. Allegro Risoluto.

Sonata Op. 106 in B Major
I. Allegro:
    Exposition (mm. 1-130) The first movement was written in sonata-allegro form. It is somewhat regular in form, but certain qualities exist which make it rather interesting. The strong opening motive becomes a trademark which Mendelssohn and Brahms both quoted in works of their own (Gordon, 184). See example 1. As characteristic of late composition Beethoven worked this theme and other motives that followed to their utmost potential (Grout & Palisca, 555). See example 2.
Example 1: Beethoven, Sonata Op. 106, first movement, mm. 1-5.
Example 2: Beethoven, Sonata Op. 106, first movement, 35-40.
      Marston believes among other theorists Beethoven may have composed Op. 106 in a similar fashion as that of Op. 10, no.3 (Marston, 98) which was not entirely surprising because Beethoven was known to use music from his past and often reworked older compositions (Sadie, 386). Nettl on the other hand compares Beethoven’s compositional style in this movement to the piano trio, Op. 97 and the 9th symphony because of the compositional technique of using the lower 3rd (G) (also referred to as the sub-mediant major) for a 2nd theme (Nettl, 173).
Example 3: Beethoven, Sonata Op. 106, first movement, mm. 63-67.
     The submediant major (G) is an unusual key relationship in the exposition.  (Gordon, 184) According to the sonata allegro form composers were expected to modulate to the dominant in the second theme. The fact that Beethoven decided to use the submediant major (G), the reference to D seems more logical in the episode section (see example 2 mm. 40) because D would be the dominant of G. Also unique in this section is the ingenious way Beethoven overlaps one section into another. For example the last three notes in the bass are the 1st three notes of the 2nd subject. These notes also serve as the end of the episode section (Harding, 59). (see example 3 mm. 63-67) Beethoven also uses his creativity to go from D major into the submediant as before through chromatic modulation (mm. 71-75) (d,C,b,A,G). Usually modulations are reserved for the development section or at connecting episodes. As mentioned before generally most composers would be in the dominant key at this point, but Beethoven does conform to traditional practices by repeating the entire exposition section.
    Development (mm. 131-233): The development section continues in the submediant major (G) as before. This section begins with a passage which suggests the beginning of the connecting episode (mm. 18-64, 131-138) The imitative style suggests fugue-like entries and canonic imitation (Gordon, 184-5).
Example 4: Beethoven, Sonata Op. 106, First movement, mm. 144-148.
Usually in most development sections the principal themes of the exposition are developed with modulations to lead back to the tonic. In this section Beethoven begins with the submediant and finally leads back to the dominant with a static modulation to tonic to begin the Recapitulation.
Recapitulation (mm. 233-412) The recapitulation begins with the first subject although with alterations and a different type of harmony than in the original key of B-flat (Harding, 59).There are frequent key changes and fluid modulations (Gordon, 185). In this section of the first movement Beethoven uses a greater amount of disjunct writing, extreme range of registers, long trills, and sudden dynamic contrasts (Gordon, 185).
Example 5: Beethoven, Sonata Op. 106, first movement, mm. 262
Example 6: Beethoven, Sonata Op. 106, first movement, mm. 372-378.
Example 7: Beethoven, Sonata Op. 106, first movement, mm. 384-389.
    The first theme of the recapitulation does not end in the tonic as one would assume. It is elongated and closes in G-flat. The transition section uses the same material as the exposition transposed into different key areas. The second subject is in the tonic. (Harding, 59).
Coda (mm. 339-412): The unusual part about the coda is that new material presents itself Refer to example 7 (mm. 384). Usually the coda is reserved for summarizing everything that has happened, but not by presenting anything new. This section resembles the exposition transposed to begin and end in tonic. The coda ends with some fragments of familiar material of the first subject.

II. Scherzo Assai Vivace
Beethoven uses a rapid compound meter with an underlying minuet and trio structure (Gordon, 185). There are no repeats because everything is written out, including the da capo section (Gordon, 185) The second time through however, the original idea is altered.
Exposition (mm. 1-47): Much of the exposition section is based on the first two measures Some alterations are made to the beginning material as the piece continues in the dominant.
Development (mm. 47-116): The development begins in B-flat minor and ends in D-flat major. Much of which is repeated in an inverted form. Beethoven explores through the keys of D-flat major and back to B-flat minor. He changes the meter to a quick presto and introduces a new subject. He explores the key of F major and then reverts back to B-flat minor.
Recapitulation (mm. 116-162): The entire exposition section is repeated in its entirety, which leads some theorists to believe that this is a ternary form ABA.
Coda (mm. 162-    ): The coda concludes the movement by modulation to B-minor. Harding notes that this modulation is through an enharmonic change of B-flat to an A-sharp. This movement ends with a recollection of the beginning material almost in a cyclical fashion.

III. Adagio Sostenuto
    In a letter written to Ferdinand Ries (an engraver of Beethoven’s manuscript) in April 1819 Beethoven wrote “The sonata was written under painful circumstances because it is hard to write for the sake of earning my bread” (Schmidt, 179). This statement makes the assumption that this movement describes a sorrowful musical story (Nettl, 173).
    The first measure of this movement was added after the whole sonata was finished. Nettl believes it is comparable to taking a breath before starting the song (173). Ries is quoted by commenting of the effect of these notes, “Never can such effective, significant notes have been added to an already completed piece, even had the addition been intended when the composition was first begun. I advise every music lover to play over the beginning of this adagio first without and afterwards with these two notes, which now form the first bar, and I have no doubt that he will share my opinion” (Schmidt, 178). This sonata is written in a free sonata-allegro form with the beginning measure serving as an introduction to the entire movement.
Example 8: Beethoven, Sonata Op. 106, third movement, mm. 1-4.
    Exposition (mm. 2-69) The exposition begins with an introduction of 1st subject with an unusual modulation to G major. The beginning material is repeated and extended with some added variations. The transition material begins with a new subject in a syncopated pattern lasting three measures long. The music in the transition section is repeated and modulates to the key of D major. The second subject appears with the melody in the bass and then continues into the treble line. The second subject is repeated a second time with a different type of accompaniment pattern. The exposition section ends in D major.
Development (mm. 69-88) Continuing in the key of D the first three bars of the subject appears in successive repetition. The bass repeats this pattern in F-sharp minor until the statement of the first subject appears at measure 77 in E-flat major. Basically the entire development section uses the first four notes of the first subject as a foundation for itself. The section ends with a dramatic cadenza on the dominant 9th of the tonic.
Recapitulation (mm. 8-148) Variation of the first subject begins the recapitulation. The transition material begins in D major. It is similar to the exposition but considerable altered so that it ends in F sharp major.
Coda (mm. 148-    ) The coda begins in a similar way as the exposition did although rather than D major the notes are transposed to the key of F-sharp major using the material of each of the two subjects. The key modulates to G, D, and A/f# where the tonic is established and remains until its conclusion.

IV. Largo
Introduction (mm. 1-5): The introduction is fragmented. It has no specific form although it can be divided into four parts. 1. Largo, 2. Un poco piu vivace, 3. Allegro, 4. Allegro risoluto. Some theorists analyze this movement as a fugue form. Beethoven uses an overlapping technique to close the introduction and introduce the subject of the exposition. This movement is significant because of the combination of forms, key signatures, and complicated rhythms.
Example 9: Beethoven, Sonata Op. 109, fourth movement, mm. 1
Exposition (mm. 6-84): The exposition begins with a statement of the subject answered tonally and directly followed by a counter-subject. The subject reappears in the bass at measure 25 and counter-subject measure 26 in the treble. Beethoven uses these two parts to form and episode which eventually leads to the restatement of the subject in the treble in the key of A-flat major. A second episode appears based on the last part of the subject and a section of the counter subject together establish the key of G-flat major and transition to e-flat minor where the first subject appears although in a different key (not in the tonic as one might expect). At mm. 84 the first theme appears in E-flat minor. It has an unusual key relationship to the tonic of B-flat major. The first subject appears in augmented form followed by a partial answer. An inversion of the subject appears at mm. 102 in the bass. The section modulates to D-flat major.
Development (mm. 106-186):The development section refers to previous material with a new subject in B-minor (usually the new subject would be presented in the exposition not in the development).
Recapitulation (mm. 186-269): The recapitulation contains a shortened version of the first theme in the bass. An answer follows in an inverted form in G-major with slight alterations. An episode is formed based on the subject and is followed by a new episode, which modulates to the key of D-major in imitative style.
 (mm. 269-356) The first theme appears in a shortened version through a combination of voice parts. The tonic key (B-flat) is established. The subject reappears a second time in an inverted form in the upper voice while the bass part contains the original version. The remaining section refers to previous material almost always in the form of imitation ending in the tonic key structure (B-flat).
Coda (357-   ) A pedal point begins in the sub-dominant and then into the dominant. A second pedal point is added and the two go on simultaneously for four measures. The foundation of the coda is based on the first subject and the counter-subject. The entire sonata ends in the tonic of B-flat with several dramatic chords in fortissimo.

Sonata Op. 111 in C Minor
    This sonata represents Beethoven’s later period not only because it was his final sonata, but also because it incorporates examples of fugue-like elements and variation form. Both of these techniques were quite prominent during this time (Barford, 328). This sonata was dedicated to Archduke Rudolph in the same respect as Op. 106 (Nettl, 173). It was written approximately at the same time as Missa Solemnis and published at the same time as the piano sonatas #30 and 31. Op. 111 uses lots of introductory material before actually presenting themes 1 & 2. Note that this sonata is much smaller in length than Op. 106 because it is confined to two movements unlike the 4-movement form looked at earlier.
    Perhaps one of the most powerful dynamic effects in Beethoven’s sonata form movements is his focus on emotional expression (Barford, 325). According to Barford a theorist by the name of Lenz attempted to identify an emotional relationship between the  two movements of Op. 111. Lenz thought the first movement was a type of resistance (similar to striving, becoming, effort, toil, and illusion) and that the second movement was comparable to a farewell (Barford, 324). In fact the relationship between the Allegro and the Adagio could be a sense of thought (Barford, 324), but it is much more than a romanticized sensation. It is a process of experience and intellectual thought as though the listener  “lived through” the experience in reality (hence the term ‘Classical idealization’) (Barford, 326).
I. “Maestoso” Introduction (mm. 1-17 & mm. 1-3 of “Allegro con brio):
     The unusual idea in this movement is the sudden modulation to f-minor after only three measures in the tonic key. (See example 10). Beginning at mm. 5 Beethoven uses the opening material to expand upon. He uses the bass to form a complete chromatic scale from G-flat to A-flat in contrary motion with the treble ending at mm. 12 on the dominant. See example 11. At measure 12 a dominant pedal point continues until the end of measure 20.
Example 10: Beethoven, Sonata Op. 111, first movement, mm. 1-5.
Example 11: Beethoven, Sonata Op. 111, first movement, mm. 7-12.
    “Allegro con brio ed Appassionato” Exposition (mm. 4-56): The first subject begins at measure four (a total of two measures long). See example 12.This theme actually originated from a motive that was intended for the second movement of the violin sonata in A major, Op. 30 (Nettl, 174). The last part of the subject is developed and then the first subject returns with additional harmony. The section concludes with a contrary motion passage in the tonic.
Example 12: Beethoven, Sonata Op. 111, second movement, mm. 4-6.
    The transition material uses fugal development and a variation of the first subject. Beethoven does not remain in this key however. The second subject is unexpectedly in A-flat major (mm. 34-36) Beethoven creatively transformed the first theme of C minor into the second theme in A-flat major (Nettl, 174). The second subject ends on a first inversion chord of the new tonic. The bass uses the first subject thematic material. It is repeated in the treble with a few changes. The entire exposition section is  repeated as was expected, but ending on A-flat (the sub-mediant) was strange because common practice was to end the exposition in the major mediant of the minor key. (In the key of c minor we would have expected E-flat).
    Development (mm. 57-77): This sonata is characterized by a considerable amount of counterpoint, frequent meter changes, and a return of the main theme in the allegro a total of three times (Barford, 327).
Example 13: Beethoven, Sonata Op. 111, first movement, mm. 61-65
    The development section primarily refers to the first subject with a fugal section at measures 61-67 augmented in rhythm and in original time. A dominant pedal point appears at mm. 71-75 to prepare the listener for the return of the first subject at the recapitulation. Beethoven structures this form in terms of struggle, tension, and movement with an attempt to expand, sustain, and define, but not draw conclusions. According to Barford the music is not meant to have a “message” it is more concerned with the “truth” (327).
    Recapitulation (mm. 77-116): The recapitulation begins right away with the first subject material in octaves with both hands. An extra measure is added (79-80) repeating the second measure of the subject two times instead of only once. The music continues with passagework similar to that of mm. 16-17, but unlike before the passage ends in f minor not on tonic as one might expect. The transition material begins in f minor and ends in G major (the dominant of C major). The second subject (mm. 101) begins in the parallel major. The development of the 2nd subject continues in the right hand while the bass notes in the left hand play the pattern of the first subject in f minor beginning at measure 109. This type of counterpoint exemplifies Beethoven’s concern not only for the emotional element, but also for his ability to use harmony and counterpoint to their fullest potential (Barford, 326). Harding mentions the simultaneous arrangement of the two subjects is quite similar to the beginning of the second subject in the last movement of the moonlight sonata (Harding, 67).
Example 14:  Beethoven, Sonata Op. 111, first movement, mm. 109-110.
Coda (mm. 117-143): The coda begins with three measures of introductory material. It begins in the same manner as the exposition transposed in the tonic (c-minor). It is unusual at this point however Beethoven decides to extend this material four measures longer by referring to the first subject (mm. 131-134) and using transition material to change keys so the movement ends in the unexpected key of C major.

II. “Arietta”
(Adagio molto semplice e cantabile) Variation form:  Air (mm. 1-18)
Unlike the previous movement in standard common time 4/4 this movement has a time signature of 9/16 with multiple sections of repeats. The opening section of the “Air” is 8 measures long and can be further divided into two 4 measure phrases.
Example 15: Beethoven, Sonata Op. 111, second movement, mm. 1-8.
The first phrase ends on the dominant and the second ends on the tonic. The second section is constructed in a similar fashion of two 4 measure phrases. The intervals of the fourth and fifth are placed against open harmony, a formal feature that quite possible dominants the entire movement (Barford, 329). Each variation that follows is not separated by a break, but goes directly into the next section. This sequence perhaps symbolizes the fact that almost everything happens in a tonal void” (Barford, 329). This movement contains a lot of black notes (32, and 64 notes). See example 16. It is created specifically for the virtuoso performer because of its long trills and extreme use of range on the keyboard. see example 17.
Example 16: Beethoven, Sonata Op. 111, second movement, mm. 69.
Example 17: Beethoven, Sonata Op. 111, second movement, mm. 132.
Another characteristic in this movement is the endurance exercises of similar notes over long periods of time, frequent runs, and scale-like passages. Barford attempts to describe one reason this movement may have been abstract. He suggests Beethoven may have been expressing his realm of experience in terms that are beyond form. (Barford, 328). He explains this concept in further detail by the following quotation, “We are asked to experience music in which it is neither intellect nor emotion, but on a new plane of consciousness untouched by any other work previous to this time” (Barford, 330).
Variation 1 (mm. 19-37): The variation form of this sonata represent a meditative preparation of deep intellectual thought valuing music as more than a collection of sound (Barford, 322). The listener often waits in expectation of what will happen next therefore the thematic exploration not only becomes an important factor, but also the areas of void where the listeners wait in anticipation (Barford, 329). Variation 1 begins with a melody in the right hand with the same rhythm as the first two notes of the air. A triplet figure in the bass appears.
Variation 2 (mm. 40-57): Meter change in 6/16
Variation 3 (mm. 59-77): Meter change in 12/32 and long arpeggios against syncopated chords.
Variation 4 (mm. 78-110) This variation is different than the preceding three because of the different respect in repetitions. The tonal depth is actually enlarged here (Barford, 329). Meter change 9/16, Florid right hand (mm. 103-110, 86-94), Pedal point in the bass (a common technique for this section) (mm. 78-85, 95-98, 99-102). This pedal point is an example of tonal depth (vibrating 5th’s in the bass are followed by high descending notes in the treble). The high descending notes in the treble which contrast with the weighted, dark chords in the left hand creates a type of hypnotic effect. At this point in the music time appears to be static (Barford, 329).
Example 18: Beethoven, Sonata Op. 111, second movement, mm. 104-105.
Coda (111-143): The coda begins with a tonic pedal point at measure 120. The perfect authentic cadence is interrupted by the major supertonic (D) prolonged by extended trills in the right hand to create a high amount of tension. See example 19.
This is an abrupt and unexpected change in the music until it is eventually resolved by 5 octaves above the solitary notes in the bass (Barford, 331). The D becomes the leading tone of E-flat and establishes the key for the return of the first theme from measure 6-8 (132-134) with episodic material from measure 134-139. Another sequence follows this pattern to establish the key of A-flat. At measure 144 an F-sharp diminished seven chord resolves to G (the dominant of C), which serves as preparation material for variation 5.
Example 19: Beethoven, Sonata Op. 111, second movement, mm. 125.
Variation 5 (mm. 145-161) The 1st theme of the air is prominent in the treble part and is accompanied by a florid bass line.
Coda (mm. 161-176) The coda is constructed on the last three notes of the air. The final cadence of the coda is the beginning section of variation 6 (overlapping technique).
Variation 6 (mm. 176-185) Variation 6 is based on an inverted dominant pedal point. The subject of the air is easily recognizable. It first appears in the inner voices at mm. 176-180. The second phrase is in the upper voice part (mm. 180-184) and is accompanied by a tremelo pattern in the bass. Barford compares this final variation to a planet in the void, a star born in the emptiness of a motionless moment, which reflects on the whole tremendous work. This reflection lasts only a short time before the music continues and the intensity increases (Barford, 331) only to conclude at the volume level of pianissimo.
Coda (mm. 185-    ): The variation is prolonged by a tonic pedal point and incorporates imitative passagework. The entire second movement closes with three bars that are a direct recollection of the very beginning of piece. This end marks not only the end of Op. 111, but also the end to all of the sonatas. Some theorists question why Beethoven didn’t decide to end more dramatically while others argue that the end was entirely appropriate, “the finale to end finales” (Barford, 323).
Indeed the final bars are quite similar to a number of sonatas, but this one is set aside because of the way the conventional method has been reconstructed. The last transformation of the theme appears as a dominant-rippling scale and the last dominant cadences silently whisper “Lebewohl” “Great was God in us…..” (Barford, 331).
    In Beethoven’s later years he continued to explore form and along with it the formal properties and implications often associated with it (Barford, 327). As a result he described themes and harmonies in terms of life as he knew it. This is why we cannot look at this later period of Beethoven’s life without recognizing the type of hardship he must have had to face. His music no doubt was a direct reflection on the reality of life.
     As we examined in these two pieces alone Beethoven’s style of composition was never predictable. His use of dynamic changes, unusual key relationships created a sense of tension and expectancy. I think it is very noble that Beethoven decided to explore the numerous amount of compositional possibilities along with an awareness to the five senses. Through this approach he is able to create the sounds and emotions he faced in his mind through a possible avenue others could share. This come to show that music is much more than a combination of sounds, but an intellectual thought process of how sounds are perceived when placed in association with one another.
 

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