6/2 Piano Sonata 12 (Color Analysis)

(Artwk by Chocolate-Cocoa)

Continuing visual breakdowns of Beethoven's piano sonatas... 

 Piano Sonata #12 In Ab, Op.26, "Funeral March" (1801)

- 1. Andante Con Variazioni (starting from 0:04)
- 2. Scherzo: Allegro Molto (starting from 6:44)
- 3. Marcia Funebre Sulla Morte D'Un Eroe (starting from 9:34)
- 4. Allegro (starting from 15:03)

The audio for this analysis was generated from a midi file originally sequenced by Bunji Hisamori in 1999.  I took that file and "spread" the notes so that listening to this on headphones will give a very distinct spacial distinction between the low voices and the high voices.  In other words, it sounds like you're sitting in front of the piano, with low notes on the right and higher notes going towards the right.  I'm calling this "Beethoven 360".  

CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

Movement I. Andante Con Variazioni

Theme (GREEN)
Variation 1 (GREEN 1)
Variation 2 (GREEN 2)
Variation 3 (GREEN 3)
Variation 4 (GREEN 4)
Variation 5 (GREEN 5)
Coda (BROWN)

Movement II. - Scherzo: Allegro Molto

Part A
1st Part (GREEN)
2nd Part (BLUE)
3rd Part (PURPLE)
2nd Part (BLUE)
3rd Part (PURPLE)
Trio  (MAROON)
Part A Repeat
1st Part (GREEN)
2nd Part (BLUE)
3rd Part (PURPLE)

Movement III. - Marcia Funebre Sulla Morte D'Un Eroe

March (BLUE)
Trio (PURPLE)
March Reprise (BLUE)
Coda (DARK BLUE)

Movement IV. - Allegro (RONDO ABACABA)

1st Theme (I) (BLUE)
2nd Theme (V) (GREEN)
1st Theme (BLUE)
3rd Theme (Development) (iii) (PURPLE)
1st Theme (BLUE)
2nd Theme (I) (GREEN)
Coda (VIOLET)

(Assisted by Donald Tovey's in depth analysis)

5/26 Piano Sonata 11 (Color Analysis)

(Artwk by Chocolate-Cocoa)

Continuing visual breakdowns of Beethoven's piano sonatas...

Piano Sonata #11 In Bb, Op.22 (1800)

- 1. Allegro Con Brio (starting from 0:04)
- 2. Adagio Con Molta Espressione (starting from 7:35)
- 3. Minuetto (starting from 15:33)
- 4. Rondo: Allegretto (starting from 18:44)

The audio for this analysis was generated from a midi file originally sequenced by Bunji Hisamori in 1999.  I took that file and "spread" the notes so that listening to this on headphones will give a very distinct spacial distinction between the low voices and the high voices.  In other words, it sounds like you're sitting in front of the piano, with low notes on the right and higher notes going towards the right.  I'm calling this "Beethoven 360".  

CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

Movement I. Allegro Con Brio (Sonata form)

Exposition
1st Theme (I) (GREEN)
Transition (BLUE)
2nd Theme (V) / Cadence (BROWN)
Exposition Repeat
1st Theme (I) (LT GREEN)
Transition (LT BLUE)
2nd Theme (V) / Cadence (LT BROWN)
Development (VIOLET)
Recapitulation
1st Theme (I) GREEN)
Transition (BLUE)
2nd Theme (I) / Cadence (BROWN)

Movement II. - Adagio Con Molta Espressione

Exposition
1st Theme (I) (GREEN)
Transition (BLUE)
2nd Theme (V) (MAROON)
Development (DARK BLUE)
Recapitulation
1st Theme (I) (GREEN)
Transition (BLUE)
2nd Theme (I) (MAROON)

Movement III. - Minuetto

Part A
1st Theme (GREEN)
2nd Theme (BLUE)
1st Theme Var. (GREEN 2)
2nd Theme (BLUE)
1st Theme Var. (GREEN 2)
Trio B (vi) (BROWN)
Part A Repeat
1st Theme (GREEN)
2nd Theme (BLUE)
1st Theme Var. (GREEN 2)

Movement IV. - Rondo: Allegretto

1st Theme (I) (BLUE)
2nd Theme Group (V) (MAROON)
1st Theme (BLUE)
3rd Theme (i) (GREEN)
1st Theme (BLUE)
2nd Theme Group (I) (MAROON)
1st Theme (BLUE)
Coda (PURPLE)

(Assisted by Donald Tovey's in depth analysis)

5/19 Piano Sonata 10 (Color Analysis)

Continuing color analysis of Beethoven's piano sonatas...some interesting rising bass figures in this one, like small eruptions leading to polite conversation, or something like that...

Piano Sonata #10 In E, Op.14/2 (1798)

- 1. Allegro (starting from 0:04)
- 2. Andante (starting from 5:43)
- 3. Scherzo: Allegro Assai (starting from 11:49)

The audio for this analysis was generated from a midi file originally sequenced by Bunji Hisamori in 1999.  I took that file and "spread" the notes so that listening to this on headphones will give a very distinct spacial distinction between the low voices and the high voices.  In other words, it sounds like you're sitting in front of the piano, with low notes on the right and higher notes going towards the right.  I'm calling this "Beethoven 360".  


CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

Movement I. Allegro (Sonata form)

Exposition
1st Theme (I) (GREEN)
Transition (OLIVE)
2nd Theme (V) (BLUE)
Exposition Repeat
1st Theme (I) (LT GREEN)
Transition (LT OLIVE)
2nd Theme (V) (LT BLUE)
Development
Variations on 1st and 2nd Themes (PURPLE)
Recapitulation
1st Theme (I) GREEN)
Transition (OLIVE)
2nd Theme (I) (BLUE)
Coda (VIOLET)

Movement II. - Andante (Theme and Variations)

Original Theme (MAROON)
Variation 1 (BROWN)
Variation 2 (TAN)
Variation 3 (OLIVE)
Coda (GREEN)

Movement III. - Scherzo - Allegro Assai (Rondo)

1st Theme (I) (BLUE)
2nd Theme (iv) (GREEN)
1st Theme (BLUE)
3rd Theme (IV) (BROWN)
1st Theme (BLUE)
Coda (PURPLE)
Epilogue (VIOLET)

(Assisted by Donald Tovey's in depth analysis)
Top image by Chocolate-Cocoa.

5/12 Piano Sonata 9 (Color Analysis)

(Artwk by Chocolate-Cocoa)

I'm going to start doing color analysis of some more piano sonatas...just to make it interesting I'm picking up after the Pathetique...

Piano Sonata #9 In E, Op.14/1 (1798)

- 1. Allegro (starting from 0:03)
- 2. Allegretto (starting from 6:01)
- 3. Rondo: Allegro Comodo (starting from 9:10)

The audio for this analysis was generated from a midi file originally sequenced by Bunji Hisamori in 1999.  I took that file and "spread" the notes so that listening to this on headphones will give a very distinct spacial distinction between the low voices and the high voices.  In other words, it sounds like you're sitting in front of the piano, with low notes on the right and higher notes going towards the right.  I'm calling this "Beethoven 360". 


CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

Movement I. Allegro (Sonata form)

Exposition
1st Theme (I) (GREEN)
Transition (BROWN)
2nd Theme (V) (BLUE)
Exposition Repeat
1st Theme (I) (LT GREEN)
Transition (LT BROWN)
2nd Theme (V) (LT BLUE)
Development
Variations on 1st and 2nd Themes (VIOLET)
Recapitulation
1st Theme (Variation) (I) GREEN)
Transition (BROWN)
2nd Theme (I) (BLUE)
Coda (DARK BLUE)

Movement II. - Allegretto (Scherzo w Trio)

Part A
1st Theme (GREEN)
2nd Theme (BROWN)
3rd Theme (BLUE)
Codetta (PURPLE)
Trio (Maggiore) (V)
Part 1 (MAROON)
Part 2 (DARK BROWN)
Part A  Repeat
1st Theme (LT GREEN)
2nd Theme (LT BROWN)
3rd Theme (LT BLUE)
Codetta (LT PURPLE)
Coda (PURPLE)

Movement III. - Allegro Comodo (Rondo ABACABA)

1st Theme (I) (GREEN)
2nd Theme (V) (BLUE)
1st Theme (GREEN)
Transition (MAROON)
3rd Theme (flat III) (VIOLET)
1st Theme(GREEN)
2nd Theme (IV) (BLUE)
1st Theme/Coda (SEA GREEN)

(Assisted by Donald Tovey's in depth analysis)

4/7 The 5th Symphony (Color Analysis)

The good ole 5th Symphony gets alot of press. I've even analyzed this before in a previous post (Greenberg analysis). However since this breakdown by Alan Rich is different (especially in the 2nd movement), it's worth putting together here.  It also demonstrates how structural analysis is merely an approximate description of how a work flows, and can be interpreted in different ways, even by published professionals.  It's worth reminding that Beethoven himself never thought in these terms - he just KNEW what should come next and did it, intuitively.  But these things have certainly been a great help to me when trying to understand a large work (or even a small work).

Symphony No. 5 in C minor,Op. 67
Arturo Toscanini, NBC Symphony Orchestra 1952
I. Allegro con brio (sonata form) starting from (0:03)
II. Andante con moto  Theme and variations starting from (7:19)
III.Allegro (Ternary, ABA) starting from (16:18)
IV. Allegro (Sonata form) starting from (20:57)

I. Allegro con brio (sonata form) starting from (0:03)

Exposition:
1st theme (BLUE)
2nd theme (MAROON)
3rd theme (BROWN)
Exposition (repeat):
1st theme (LT BLUE)
2nd theme (LT MAROON)
3rd theme (LT BROWN)
Development:
1st theme (PURPLE)
2nd theme (PURPLE)
Recapitulation:
1st theme (BLUE)
2nd theme (MAROON)
3rd theme (BROWN)
Coda (based on 1st theme) (PURPLE)

II. Andante con moto  Theme and variations starting from (7:19)

Theme
1st variation
2nd variation
3rd variation (based on 1st variation)
4th variation
5th variation
6th variation (based on 1st variation)
7th variation
8th variation
9th  variation
10th variation (coda)

III.Allegro (Ternary, ABA) starting from (16:18)

Part A:
1st theme (MAROON)
2nd theme (BLUE)
Both 1st and 2nd themes (PURPLE)
Part B:
1st theme GREEN)
1st theme (return) (GREEN)
Part A:
1st theme (variation) (LT MAROON)
2nd theme (variation) (LT BLUE)
Both 1st and 2nd themes (variation) (LT PURPLE)
Coda (LT GREEN)
   

IV. Allegro (Sonata form) starting from (20:57)

Exposition:
1st theme (BLUE)
2nd theme (MAROON)
3rd theme (BROWN)
4th theme (OLIVE)
1st Development:
3rd theme (PURPLE)
2nd theme (reprise of Mvmt III 2nd theme) (VIOLET)
Recapitulation:
1st theme (BLUE)
2nd theme (MAROON)
3rd theme (BROWN)
4th theme (OLIVE) 
2nd Development (or Coda):
3rd theme (PURPLE)
2nd theme (PURPLE)
4th theme (PURPLE)
1st theme (PURPLE)

(form analysis from Alan Rich's "Play by Play") 

4/6 The 7th Symphony (Color Analysis)

I must confess, the 7th symphony is not my favorite of Beethoven's 9 symphonies. It's a ROCKER, to be sure, but I don't know - it sounds a little too much like heavy metal music to my ears...;)
That 2nd movement Allegretto though is sublime, no matter how many movies, TV commercials and videogames use it to spice up their scores...

Symphony 7 in A, Op. 92
(Radio Filharmonisch Orkest, Jaap van Zweden conducting, previously in video featured HERE)
I. Poco sostenuto: vivace (Sonata form) from (0:04)
II. Allegretto - Theme and variations (from 14:19)
III. Presto: Assai meno presto (from 22:36)
IV. Allegro con brio (Sonata form) from (32:05)

I. Poco sostenuto: vivace (Sonata form) from  (0:04)

Introduction:
1st theme (MAROON)
1st theme (development) (MAROON)
2nd theme (BROWN)
1st theme (return) (MAROON)
2nd theme (return and development) (BROWN)
Transition to exposition (BROWN)
Exposition:
1st theme (BLUE 1)
2nd theme (BLUE 2)
3rd theme (GREEN)
Exposition (repeat):
1st theme (LT BLUE 1)
2nd theme (LT BLUE 2)
3rd theme (LT GREEN)
Development - based on 1st theme (PURPLE)
Recapitulation:
1st theme (BLUE 1)
2nd theme (BLUE 2)
3rd theme (GREEN)
Coda - based on 1st theme (PURPLE)

II. Allegretto - Theme and variations (from 14:19)

Introduction to theme (MAROON)
1st theme (PURPLE)
1st variation (PURPLE)
2nd variation (PURPLE)
2nd theme (BLUE)
3rd variation (PURPLE)
4th variation (fugue) (PURPLE)
1st coda (based on 4th variation) (GREEN)
2nd theme (partial) (BLUE)
2nd coda (GREEN)

III. Presto: Assai meno presto  (from 22:36)

III. Presto: Assai meno presto (from 22:36)
SCHERZO:
1st theme (BLUE)
1st theme (development) (BLUE)
TRIO:
2nd theme (GREEN)
1st theme (partial return) (BLUE-GREEN)
1st theme (return) (BLUE-GREEN)
2nd theme (return) (GREEN)
SCHERZO:
1st theme (return) (BLUE)
TRIO: 2nd theme (return) (GREEN)
SCHERZO: 1st theme (return) (BLUE)
Coda (GREEN)

IV. Allegro con brio (Sonata form) from (32:05)

Exposition:
1st theme (MAROON)
2nd theme (BROWN)
3rd theme (BLUE)
4th theme (GREEN)
Exposition Repeat:
1st theme (LT MAROON)
2nd theme (LT BROWN)
3rd theme (LT BLUE)
4th theme (GREEN)
Development:
2nd theme (PURPLE)
1st theme (PURPLE)
1st theme (variation) (PURPLE)
Recapitulation:
1st theme (MAROON)
2nd theme (BROWN)
3rd theme (BLUE)
4th theme (GREEN)
Coda (1st and 2nd themes) (PURPLE)

(form analysis from Alan Rich's "Play by Play")
I'm going to do the 5th tomorrow as well, just since I have the notes handy...

3/31 The "Ghost" Piano Trio (Color Analysis)

I did the Ghost Trio awhile back already with Alan Rich's breakdowns (here and here using Soundcloud notes), but I'm re-doing it today with color waveform visual assistance...just because I love this work so much.

Piano Trio 5 in D, Op.70, No. 1 "Ghost" (1808)
I. Allegro vivace e con brio 0:00
II. Largo assai ed espressivo 10:18
III. Presto 21:58
Performed by the Beaux Arts Trio
CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "...(more info)" and then you can view the video in place, while scrolling through the form analysis text below more easily)

I. Allegro vivace e con brio (Sonata form)
Exposition:
1st theme / 2nd theme (BROWN)
2nd Theme (BLUE)
3rd theme (GREEN)
Exposition (repeat):
1st theme / 2nd theme (LT BROWN)
2nd Theme (LT BLUE)
3rd theme (LT GREEN)
Development:
1st theme (PURPLE)
2nd theme (PURPLE)
1st theme (PURPLE)
Recapitulation:
1st theme (BROWN)
2nd theme (BLUE)
3rd theme (GREEN)
Development (repeat):
1st theme (LT PURPLE)
2nd theme (LT PURPLE)
1st theme (LT PURPLE)
Recapitulation (repeat):
1st theme (BROWN)
2nd theme (BLUE)
3rd theme (GREEN)
Coda (PURPLE)

(actually the Rich book calls the 1st Recap an Exposition repeat with "variations" but that can't be right...I prefer to think of it as a recap that repeats)

II. Largo assai ed espressivo (Sonata form)

Exposition:
1st theme (BROWN)
2nd theme (BLUE)
3rd theme (GREEN)
Development: (PURPLE)
1st theme
2nd theme
1st theme (return)
Exposition (repeat):
1st theme (LT BROWN)
2nd theme (LT BLUE)
3rd theme (LT GREEN)
Development (repeat): (LT PURPLE)
1st theme
2nd theme
1st theme (return)
Coda (3rd theme) (MAROON)

III. Presto (Sonata form)

Exposition:
1st theme (BROWN)
2nd theme (BLUE)
3rd theme (GREEN)
Exposition (repeat):
1st theme (LT BROWN)
2nd theme (LT BLUE)
3rd theme (LT GREEN)
Development: (VIOLET)
3rd theme
1st theme
Recapitulation:
1st theme (BROWN)
2nd theme (BLUE)
3rd theme (GREEN)
Coda (PURPLE)

(from Alan Rich's Play by Play) 

Since I've covered the Ghost Trio 3 times now, I think I'll stick this excellent live performance of the Ghost Trio here, instead of making post #4.  Unfortunately I'm not sure who the performers are - but they are good!

3/24 The "Emperor" - Piano Concerto 5 (Color Analysis)

The Emperor Concerto took me a little while to warm up to - it starts out so bombastically. But once past those massive initial tuttis so obviously designed to grab your attention (and which succeed so well) the "Emperor" reveals itself to be an edifice of great musical joy and power.

Piano Concerto No. 5 in E-flat major, Op. 73 "The Emperor Concerto" (1809)
Vladimir Ashkenazy / Zubin Mehta
I. Allegro (0:00)
II. Adagio un poco mosso (20:41)
III. Rondo: Allegro ma non troppo (28:50)


CHANNEL LINK (Click here to see this video on my YT Channel.  Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

I. Allegro

Introduction:
Fanfare (MAROON)
1st Exposition: 
1st theme (BLUE)
(Pre-echo of 2nd theme) / 2nd Theme (VIOLET)
1st theme (Return) (BLUE)
3rd theme (based on 1st theme) (GREEN)
2nd Exposition: 
1st theme: with piano (BLUE)
2nd theme (VIOLET)
3rd theme (GREEN)
Development:  (PURPLE)
1st theme
3rd theme
1st theme (variation)
Recapitulation: 
Introduction (MAROON)
1st theme (return) (BLUE)
2nd theme (VIOLET)
1st theme (return) (BLUE)
Coda: 1st theme (PURPLE)
Cadenza (based on 1st theme) (DARK BLUE)
Cadenza (continued, based on 2nd theme)
Orchestral re-entrance (SEA GREEN)

II. Adagio un poco mosso

1st theme (BROWN)
2nd theme (GREEN)
1st theme (interrupts) (BROWN)
2nd theme (continues) (GREEN)
1st and 2nd themes in combination (BLUE-GREEN)
3rd theme (PURPLE)
3rd theme (variation) (DARK BLUE)
Coda (MAROON)

III. Rondo: Allegro ma non troppo

Exposition:  (MAROON)
1st theme, part I:piano
1st theme, part I: orchestra
1st theme, part II
2nd theme (BROWN)
3rd theme (BLUE)
Exposition (repeat) (MAROON):
1st theme: piano
1st theme: orchestra
Development (variations): (PURPLE)
1st variation
2nd variation
3rd variation
Recapitulation: 
1st theme,part I: piano (MAROON)
1st theme, part I: orchestra
1st theme, part II
2nd theme (BROWN)
3rd theme (BLUE)
Coda: 
1st theme, part I (MAROON)
1st theme, part II
Brief cadenza (BLUE)
Final statement of 1st theme (MAROON)

(form analysis from Alan Rich's "Play by Play")

3/17 The 'Archduke' Piano Trio (Color Analysis)

Time once again for one of my favorite tools for gaining a greater understanding of the larger structure of Beethoven's music: shaded waveform animation - i.e.: "color analysis", this time the splendid Archduke Trio...

Piano Trio No. 7 in B-flat major, Op. 97 "The Archduke Trio"
I. Allegro moderato 0:00
II. Scherzo (Allegro)  14:07
III. Andante cantabile ma però con moto. Poco piu adagio.  20:47
IV. Allegro moderato - Presto  34:20
Performed by the Beaux Arts Trio
CHANNEL LINK (Click here to see this video on my YT Channel.  Once there, click on "...(more info)" and then you can view the video in place, while scrolling through the text below)

I. Allegro moderato (Sonata form)

Exposition:
1st theme (MAROON)
1st theme: with violin
1st theme (variation)
2nd theme (GREEN)
3rd theme (BLUE)
Exposition (repeat):
1st theme (MAROON)
1st theme variation
2nd theme (GREEN)
3rd theme (BLUE)
Development: 
3rd theme (PURPLE)
1st Theme (PURPLE)
Recapitulation:
1st theme (MAROON)
2nd theme (GREEN)
3rd theme (BLUE)
Coda (PURPLE)

II. Scherzo (Ternary Form)

Part A:
1st theme (GREEN)
1st variation
2nd variation
3rd variation
4th variation
Part B:
2nd theme (fugal exposition) (MAROON)
3rd theme (BLUE)
3rd theme (return)
2nd theme (development) (VIOLET)
3rd theme (return) (BLUE)
Part A: (reprise)
1st theme (GREEN)
1st variation
2nd variation
3rd variation
4th variation
Coda (PURPLE)

III. Andante cantabile ma pero con moto

1st part: 1st theme: with piano (MAROON)
1st theme: with strings
1st theme: with piano
Closing material: tutti
2nd part (OLIVE)
3rd part (BLUE)
4th part (BROWN)
5th part: theme in piano, right hand (PURPLE)
5th part: theme in strings
5th part (repeat): theme in piano, right hand
5th part (repeat): theme in strings
Closing material (GREEN)
Closing material (variation)

IV. Allegro moderato (Rondo and variations)

1st theme (GREEN)
2nd theme (BLUE)
1st theme (return) (GREEN)
3rd theme (MAROON)
1st theme (variation) (GREEN)
2nd theme (return) (BLUE)
1st theme (variation) (GREEN)

(from Alan Rich's Play by Play)

3/10 String Quartet Op.133 "Grosse Fuge" (Color Analysis and Rock Arr.)

Yesterday was the color chart/video of Opus 130, and since the Grosse Fugue was originally the grand finale of Opus 130 it seems necessary to put up Mr. Rich's color breakdown of this crazy and fun behemoth.  I think this is like the 2nd or 3rd analysis of the G.F. I've posted, but this one is pretty much all from Alan Rich's book, "Play by Play".  Personally I like my own analysis better, his is a little too simplified for my tastes, but I learned alot from his....

String Quartet Op.133 "Grosse Fuge" (1826)
Guarneri Quartet


Overture (MAROON)
1st Theme
2nd Theme
3rd Theme
4th Theme

Part I: fugue (based on 4th Theme): (BROWN)
Entrance 1
Entrance 2
Entrance 3
Entrance 4
Exposition (partial)
Variations on subject
Exposition (partial)
Exposition (variations on subject)

Part II: (BLUE)
3rd Theme (return)
3rd Theme (several fugue-like entrances)
3rd Theme (fragments)
3rd Theme (variation)

Part III: (VIOLET)
2nd Theme (return)
2nd Theme: fugue
2nd Theme: fugue (abridged)
2nd Theme (variation)
2nd Theme (further variation)

Part IV: (SEA GREEN)
3rd Theme (return)
Transition

Part V: (DARK BLUE)
2nd Theme (return)
2nd Theme (development)
1st Theme (return)

Part VI: fugue (based on part I) (OLIVE)
1st Theme (return)
Part I (variation)

(form breakdowns from Alan Rich's "Play by Play")

Rock Arrangement:

3/9 String Quartet Op.130 (Color Analysis and Rock Arr.)

Beethoven's String Quartet Opus 130 has the distinction of having had the "Grosse Fuge" as it's original ending, and then having that shortly replaced with a new final movement, which also happens to be B.'s last completed work.  For those reasons it's very much an "omega" work.  One thing that always amazes me about the new finale is that it's so joyful and "peppy".  At this time B. must have suspected that he wouldn't live much longer - he was trying to recover from a long-term illness during it's composition.  Also he was completely deaf, and his nephew Karl had just tried to commit suicide, blaming B. for driving him to such an extreme.  He was staying at his brother Johann's with whom he had had many rows, composing a work in response to public rejection of one of his most ambitious works.  It could not have been a happy time.  Nonetheless, the music of this "replacement movement" is vivacious.  I wonder if composing such contrary music was a method of self-therapy?  Let there be Light!

String Quartet Opus 130 (Final Version)
Guarneri Quartet
I. Adagio ma non troppo (0:00)
II. Presto (D♭) (13:40)
III. Andante con moto ma non troppo (B♭ minor) (15:36)
IV. Alla danza tedesca. Allegro assai (G) (23:01)
V. Cavatina. Adagio molto espressivo (E♭) (26:47)
VI. Finale. Allegro (33:50)

---

CHANNEL LINK (Click here to see this video on my YT Channel.  Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

I. Adagio ma non troppo/Allegro

--Exposition:

• Introduction, part I (BROWN)
• Introduction: part II
• 1st Theme, part I (MAROON)
• 1st Theme, part I (return)
• 1st Theme, part II
• 2nd Theme (DARK BLUE)
• 2nd Theme: development
• 3rd Theme (OLIVE)

--Exposition (Repeat):

• Introduction, part I (LIGHT BROWN)
• Introduction: part II
• 1st Theme, part I (LIGHT MAROON)
• 1st Theme, part I (return)
• 1st Theme, part II
• 2nd Theme (LIGHT BLUE)
• 2nd Theme: development
• 3rd Theme (LIGHT OLIVE)

--Development: 

• First part: based on Introduction (VIOLET)
• Second part: based on 1st Theme

--Recapitulation:

• 1st Theme, part I (MAROON)
• 1st Theme, part II (variation)
• 2nd Theme (variation) (DARK BLUE)
• 2nd Theme (return)
• 3rd Theme (return)
• Coda (VIOLET)

II. Presto (starting from 13:40)

• A (GREEN)
• B (BLUE)
• Transition (PURPLE)
• A (Return) (GREEN)

III. Andante con moto ma non troppo (starting from 15:36)

Exposition

• Introduction (BROWN)
• 1st Theme (MAROON)
• Transition (OLIVE)
• 2nd Theme (BLUE)
• 1st Theme (Variation) (MAROON)
• 3rd Theme (VIOLET)

Exposition Repeat

• Introduction (LIGHT BROWN)
• 1st Theme (LIGHT MAROON)
• Transition (LIGHT OLIVE)
• 2nd Theme (LIGHT BLUE)
• 1st Theme (Variation) (LIGHT MAROON)
• 3rd Theme (LIGHT VIOLET)

• Coda (OLIVE)
• 3rd Theme (VIOLET)
• 3rd Theme: Development

IV. Alla danza tedesca: Allegro assai (starting from 23:01)

A: 

• 1st Theme, part I (BLUE)
• 1st Theme, part II (LIGHT BLUE)

B: 

• 1st Theme (GREEN)

A:

• 1st Theme, part I (BLUE)
• 1st Theme, parts I and II (variation) (LIGHT BLUE)
• 1st Theme, part I (BLUE)
• 1st Theme, part I (fragmented variation) (LIGHT BLUE)

V. Cavatina: Adagio molto espressivo (starting from 26:47)

1st Theme, part I (GREEN)

1st Theme, part II

1st Theme (return)

2nd Theme (BLUE)

2nd Theme (return)

3rd Theme (VIOLET)

1st Theme, part I (return) (GREEN)

1st Theme, part II (return)

VI. Finale, Allegro (starting from 33:50)

Exposition

• 1st Theme (MAROON)
• 2nd Theme (BLUE)
• 3rd Theme (GREEN)

Exposition Repeat

• 1st Theme (repeat) (MAROON)
• 2nd Theme (repeat) (BLUE)
• 3rd Theme (repeat) (GREEN)

Development (PURPLE)

Recapitulation

• 1st Theme (return) (LIGHT MAROON)
• 2nd Theme (return) (LIGHT BLUE)
• 3rd Theme (return) (LIGHT GREEN)
• Development (return) (LIGHT PURPLE)

• Coda (BROWN)

(form analysis from Alan Rich's "Play by Play")

And finally my sequenced "Rock" arrangement for those who like guitars, organ, bass and drums...if you're ambitious you could theoretically play both at the same time...maybe not.

 I. 0:04, II. 11:13, III. 13:17

IV. 19:00, V. 21:50,  VI. 29:01

3/3 Missa Solemnis (Color Analysis and Rock Arr.)

The Missa Solemnis ("Solemn Mass") in D from 1823 was a work Beethoven himself hailed as his "greatest" - at least until the 9th Symphony came along. I'm not going to go much more into background - I have alot of typing ahead of me...it's epic and sublime should be heard live at least once in a lifetime, preferably in the 2nd row center seats.  Worth it at any price.

Missa Solemnis in D, Op.123 (1823)
Sir Colin Davis, LSO

0:00    I.   Kyrie

11:07   II.  Gloria

30:01   III. Credo

52:32   IV.  Sanctus / Benedictus

1:09:41 V.   Agnes Dei

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CHANNEL LINK: Click here to see this video on my YouTube Channel. Once there, click on "...(more info)" to scroll through the text description while the video stays in place.

I...-Kyrie - Assai sostenuto (starting from 0:00)

Part I (MAROON): 1st theme: orchestra: D major

2nd theme: orchestra (solo clarinet): G major

3rd theme: orchestra

1st theme: chorus: “Kyrie" / 2nd theme: tenor solo: "Kyrie"

3rd theme: alto solo/chorus:"Kyrie eleison"

4th theme (variation of 3rd theme): chorus (in canon): “Eleison"

Part II (GREEN): andante assai ben marcato: solo quartet:“Christe": B minor

Chorus: "Christe"

Variation: chorus/solo quartet:"Christe"

Part I (return) (MAROON) : 1st theme:orchestra

1st theme (return): chorus/solo quartet: ”Kyrie"

5th theme: chorus: "Eleison"

1st theme (final variation):chorus

II...-Gloria - Allegro vivace (starting from 11:07)

Part I (BROWN): orchestra: 1st theme: D major

1st theme: chorus: “Gloria”

2nd theme: chorus: ”In Excelsis”

1st theme: chorus: "Gloria"

3rd theme: bass chorus: ”Et in terra"

1st theme (variation): chorus: ”Laudamus te"

4th theme: chorus:”Glorificamus": D major

4th theme (variation):chorus: ”Glorificamus": G major

Part II (GREEN): meno allegro: 1st theme: orchestra/chorus/solo:”Gratias"

1st theme (variation): chorus:"Gratias”

1st theme (variation of 1st theme, part I) (BROWN): ”Domine” E flat major

2nd theme: solo quartet:"Domine fili"

3rd theme: chorus: "Domine deus" F major

(Qui tollis - Larghetto, BLUE) Development: orchestra

1st theme: solo quartet: ”Qui tollis": F major

1st theme (answer): chorus:”Miserere", Soloists

1st theme (variation): chorus "Qui tollis": D major, Soloists

2nd theme: chorus/solo quartet: ”Qui sedes": B flat major

3rd theme: solo quartet:“Miserere”

(Quoniam - Allegro maestoso, MAROON) Part I: 1st theme: orchestra

1st theme: chorus:"Quoniam": D major

2nd theme: chorus: “Cum sancto”

Part II: allegro ma non troppo:fugue, PURPLE: 1st theme: chorus:"In gloria”

1st theme (variation): solo quartet/chorus: ”In gloria"

1st theme (variation, condensed fugue): chorus:"In gloria"

Part III (GREEN): poco piu allegro: solo quartet: "Amen": D major

Part IV: presto (return of 1st theme from GLORIA) (BROWN):"Gloria"

III...-Credo I - Allegro ma non troppo (starting from 30:01)

1st theme: orchestra/chorus:"Credo": B flat major (BROWN)

1st theme (return): chorus:"Credo"

2nd theme: chorus: “Deum de deum”: G major

3rd theme: chorus:”Consubstantialem"

4th theme: chorus: "Qui propter nos homines"

5th theme: chorus:"Descendit"

(Et incarnatus est - Adagio, BLUE) 1st theme: chorus/solo quartet: ”Et incarnatus"

2nd theme (development):andante: chorus/tenor solo:“Et homo"

3rd theme: adagio espressivo:solo quartet: "Crucifixus"

4th theme: quartet/chorus:"Passus": sequence of keys

5th theme (development):allegro: chorus: ”Et resurrexit"

6th theme: chorus: ”Et ascendit": C major

7th theme: chorus:"Judicare": sequence of keys

1st theme (variation): chorus:”Cuius regni"

(Credo II - Allegro ma non troppo, GREEN) Part I: 1st theme (variation of 1st theme, CREDO I): chorus:"Credo"

Part II: allegretto ma non troppo: 1st theme: chorus:“Et vitam"

Part III: allegro con moto: 1st theme (variation of part II):“Et vitam"

Part IV: grave: 1st theme:chorus/solo quartet: “Et vitam": B flat major

IV...-Sanctus/Benedictus (starting from 52:32)

(Sanctus - Adagio, BROWN) Part I: 1st theme: orchestra: Dmajor

1st theme: solo quartet:"Sanctus"

1st theme (return): solo quartet: “Sanctus”

Part II (OLIVE): allegro pesante: chorus: ”Pleni sunt”: D major

Part III (BLUE): presto: 1st theme:chorus: ”Osanna"

(Preludium/Benedictus - Sostenuto, PURPLE) Introduction: orchestra

Solo violin entrance

1st theme (MAROON): chorus bass/solo violin: ”Benedictus"

2nd theme: solo alto/bass (BLUE): "Benedictus”: G major

2nd theme: solo soprano/tenor: “Benedictus”

3rd theme (MAROON 2): chorus: ”In nomine"

2nd Theme (variation) (BLUE): solo quartet: "Benedictus"

3rd Theme (variation) (MAROON 2): chorus "In Nomine"

1st Theme (variation) (MAROON): solo quartet:"Qui venit"

4th theme (GREEN): chorus "Osanna" G major

V...-Agnus Dei - Adagio (starting from 1:09:41)

1st theme (MAROON): orchestra/bass solo: "Agnus dei": B minor

2nd theme (BROWN): orchestra/chorus: "Miserere"

1st theme (variation): alto/tenor solo: “Agnus"

2nd theme (variation): alto solo/chorus: "Miserere”

1st theme (variation): solo quartet: “Agnus"

2nd theme (variation):chorus/solo quartet:”Miserere"

(Dona nobis pacem - Allegretto vivace, BLUE) 1st theme: chorus: "Dona nobis": A major

2nd theme: chorus:”Pacem": D major

3rd Theme:chorus:"Dona nobis"

4th theme (variation of 3rd theme): chorus/soprano solo: "Dona"

(Agnus dei - Allegro assai, GREEN) Part I: Development: orchestra

Development (quasi-recitative): solo quartet:"Agnus dei"

1st theme (variation of 1st theme, DONA NOBIS PACEM): quartet:"Dona nobis"

2nd theme (variation of 3rd theme, DONA NOBIS PACEM): chorus:"Dona nobis"

3rd theme (variation of 4th theme, DONA NOBIS PACEM):chorus/solo quartet: “Dona nobis”

Part II (VIOLET): presto: orchestra: D Major

Development: chorus: ”Agnus"

1st theme: chorus/solo quartet: ”Dona nobis": B flat major

Part III (BROWN): 1st theme (variation of 1st theme, DONA NOBIS PACEM):quartet: "Dona"

2nd theme (variation):chorus: ”Dona nobis": D major

3rd theme: solo quartet:“Pacem"

4th theme: chorus: ”Pacem" D Major

5th theme (variation of 3rd theme, DONA NOBIS PACEM): chorus:"Dona nobis"

Breakdowns quoted directly from Alan Rich's book, Play by Play.  Usually I go through each section and "vet" each of Mr. Rich's sectional breakdowns, since I try to clarify things a bit more (at least for me) but for this one I frankly just did a straight copy.

For more, here's a superb website devoted to the Missa Solemnis :
http://www.its.caltech.edu/~tan/BeethovenMissaSolemnis/missa_solemnis.html

Ah yeah - almost forgot to tack on one more >ahem< "rockified remix"...
Gloria:

2/24 Beethoven's Mass in C (Color Analysis and Rock Arr.)

Beethoven's Mass in C from 1812 is not as popular as the monumental Missa Solemnis from 1823, but it's actually a big favorite with me. It was originally composed for Papa Haydn's old boss, but apparently Prince Nikolaus Esterházy II didn't clap loudly enough and our man B. stormed out in a fury... Frankly I find it's brazen modulations and fiery dynamics to be a kind of "punk-rock" cousin to the Missa...it's shorter and faster and the orchestration seems to me to be a bit leaner.

Mass in C for Solo, Chorus and Orchestra Op.86 (1812)
Sir Colin Davis with the LSO and Chorus
0:00 1. Kyrie
5:54 2. Gloria (Qui tollis – Quoniam)
16:34 3. Credo
29:00 4. Sanctus (Benedictus – Osanna)
40:36 5. Agnus Dei (Dona nobis pacem)
This work has so many sections that it might be hard to keep the video and the breakdowns all on the same page...may be best to get 2 computers side by side for this post ;)

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CHANNEL LINK: Click here to see this video on my YouTube Channel. Once there, click on "...(more info)" to scroll through the text description while the video stays in place.
 
I. (starting 0:00)
Kyrie - Andante con moto

1st Theme: chorus: "Kyrie": C Major (BROWN)

2nd Theme: soprano solo: "Kyrie" (GREEN)

2nd Theme: solo qrtt/chorus: "Kyrie" (GREEN)

3rd Theme: solo qrtt: "Christe" (BLUE)

(1st Theme variation (chorus: "Kyrie"): E Major  2:55) (BLUE)

2nd Theme (repr.): soprano solo: "Kyrie" (GREEN)

II. (starting 5:54)
Gloria - Allegro con brio (BLUE)

1st Theme: chorus: "Gloria" C Major

2nd Theme: chorus: "Bonae voluntatis" A minor

3rd Theme: tenor solo/chorus: "Gratias agimus" Bb Major

Qui Tollis - Andante mosso (GREEN)

1st Theme: alto solo/chorus: "Qui Tollis" F minor

1st Theme: solo qrtt: "Qui Tollis"

2nd Theme: chorus: "Qui sedes"

Quonium - Allegro ma non troppo

1st Theme: orchestra: C Major (BLUE)

1st Theme: chorus: "Quoniam" (BLUE)

2nd Theme: Fugue: chorus: "Cum Sancto" C Major (MAROON)

Text Painting: solo soprano/chorus: "Amen" (PURPLE)

III. (starting 16:34)
Credo - Allegro con brio
1st Theme: chorus: "Credo" C Major (MAROON)
2nd Theme: chorus: "Factorum" (sequence of keys) (BLUE)

1st Theme variation: chorus: "Et in unum" (MAROON)

3rd Theme: chorus: "Ante omnia" (BLUE)

4th Theme: chorus: "Deum de deo" Eb Major (BLUE)

5th Theme: chorus: "Consubstantialem" Eb Major (BLUE)

6th Theme: tenor/bass solo: "Qui propter nos homines" (BLUE)

Et incarnatus est - Adagio, Part 1 (VIOLET)

1st Theme: solo qrtt: "Et incarnatus" Eb Major

2nd Theme: chorus: "Crucifixus" Bb minor and sequence of keys

3rd Theme: solo qrtt: "Passus"

Part 2 - Allegro ma non troppo (PURPLE)

1st Theme: Bass solo/chorus" "Et ascendit" D Major

2nd Theme: chorus: "Sedet" C Major

3rd Theme: chorus: "Cujus regni" G Major

4th Theme: solo qrtt: "Et in spiritum"

5th Theme: chorus: "Qui locutus est" C Major

Part 3 - (DARK BLUE)

Fugue: chorus: "Et vitam" C Major

Fugue variation: alto solo: "Et vitam" A Major

IV. (starting 29:00)
Sanctus - Adagio

1st Theme: orchestra A Major (MAROON)

1st Theme: chorus: "Sanctus" (MAROON)

2nd Theme: allegro: chorus: "Pleni sunt coeli" D Major (MAROON 2)

3rd Theme: chorus: "Osanna in excelsis" (MAROON 3)

Benedictus - Allegretto ma non troppo (BLUE)

1st Theme: solo qrtt: "Benedictus" F Major

2nd Theme: solo qrtt: "Qui venit"

3rd Theme: quartet/chorus: "Benedictus" C Major

(4th Theme: solo qrtt: "Benedictus" F Major 35:25)

1st Theme variation: solo qrtt: "Benedictus" F Major

5th Theme (reprise of Sanctus 3rd Theme): chorus: "Osanna"

V. (starting 40:36)
Agnus Dei - Poco andante
1st Theme: chorus "Agnus dei" (OLIVE)
2nd Theme: chorus: "Miserere" (BLUE)

1st Theme variation: chorus: "Agnus dei" (OLIVE)

2nd Theme variation: chorus: "Miserere" (BLUE)

3rd Theme: solo qrtt: "Dona nobis" (BLUE)

4th Theme: chorus: "Miserere" (BLUE)

5th Theme: chorus: "Pacem" (BLUE)

(breakdowns from Alan Rich's book, Play by Play!!).

Recall when I mentioned this work being like "punk-rock"?  Welll.....

2/17 Kreutzer Sonata (Color Analysis)

Another re-visit to Beethoven's ever-fascinating Kreutzer Sonata for Violin and Piano: as with the Moonlight Sonata last week, I've posted an analysis of the 1st movement before but not of all 3 parts so here goes...

Violin Sonata No.9 Op.47 'Kreutzer' (1803)
Piano: Vladimir Ashkenazy / Violin: Itzhak Perlman
0:00 - I. Adagio Sostenuto - Presto
11:49 - II. Andante con Variazioni I - IV
28:17 - III. Finale. Presto
CHANNEL LINK (Click here to see this video on my YT Channel. Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

Movement I, Adagio Sostenuto - Presto

Introduction

1st Theme (Violin) (LIGHT PURPLE)

1st Theme (Piano) (LIGHT PURPLE)

2nd Theme (LIGHT BLUE)

Exposition

1st Theme (MAROON)

2nd Theme (BROWN)

1st Theme Variation (MAROON)

3rd Theme (from 1st Theme) (GREEN)

Development

3rd Theme (BLUE)

2nd Theme from Introduction (LIGHT BLUE)

Recapitulation

1st Theme (MAROON)

2nd Theme (BROWN)

1st Theme Variation (MAROON)

3rd Theme (GREEN)

Coda (DARK BLUE)

1st Theme

1st Theme Development

1st Theme Finale

Movement II. Theme and Variations (starting at 11:49)

1st Theme w Piano (BLUE)

1st Theme w Violin (VIOLET)

1st Variation (BROWN)

2nd Variation (GREEN 1)

3rd Variation (GREEN 2)

4th Variation (GREEN 3)

Transition (DARK BROWN)

5th Variation (MAROON)

Coda (VIOLET 2)

Movement III. Presto (starting at 28:17)

Exposition

1st Theme A (MAROON 1)

1st Theme B (MAROON 2)

1st Theme C (MAROON 3)

2nd Theme (BLUE)

3rd Theme (from 1st Theme) (LIGHT BROWN)

Exposition Repeat

1st Theme A (MAROON 1)

1st Theme B (MAROON 2)

1st ThemeC (MAROON 3)

2nd Theme (BLUE)

3rd Theme (from 1st Theme) (LIGHT BROWN)

Development - 1st Theme (PURPLE)

Recapitulation

1st Theme A (minor) (MAROON 1)

1st Theme B (MAROON 2)

1st ThemeC (MAROON 3)

2nd Theme (BLUE)

3rd Theme (from 1st Theme) (LIGHT BROWN)

Coda

Entrance (BLUE 1)

Adagio (variation of 1st Theme) (BLUE 2)

1st Theme final Development (BLUE 3)

(breakdowns from Alan Rich's book).
Additionally, here's a link to a performance of the 2nd movement by Efram Zimbalist and Harold Bauer from 1926!!
Beethoven "Kreutzer Sonata" Zimbalist-Bauer Rec.1926

2/10 Moonlight and Appassionata Sonatas (Color Analysis)

Time for more visual analysis... I've posted about the Moonlight Sonata before (tho not all 3 movements) so I decided what the heck, might as complete that, and also throw in the Appassionata again, for old times' sake.... I'll eventually do all 32 sonatas but since these were handy I decided to do the "hits" first.



Piano Sonata #14 In C#m, Op.27/2, "Moonlight" (1801)
Piano Alfred Brendel
0:00 - I. Adagio sostenuto
6:05 - II. Allegretto
8:33 - III. Presto agitato
Channel Link

Movement 1. Adagio Sostenuto

Exposition

Introduction (LIGHT MAROON)

1st Theme (MAROON)

2nd Theme (BROWN)

Development - 1st Theme (GREEN)

Recapitulation

1st Theme (MAROON)

2nd Theme (BROWN)

Coda (MAROON 2)

Movement 2. Allegretto (starting at 6:05)

Theme A (MAROON)

Theme B (BROWN)

Theme A (reprise) (MAROON)

Movement 3. Presto Agitato (starting at 8:33)

Exposition

1st Theme (MAROON)

2nd Theme (BROWN)

3rd Theme (OLIVE)

4th Theme (GREEN)

Exposition Repeat

1st Theme (MAROON)

2nd Theme (BROWN)

3rd Theme (OLIVE)

4th Theme (GREEN)

Development (BLUE)

1st Theme Dev

2nd Theme Dev

Recapitulation

1st Theme (MAROON)

2nd Theme (BROWN)

3rd Theme (OLIVE)

4th Theme (GREEN)

Coda (DARK BLUE)

Cadenza (VIOLET)

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Piano Sonata #23 In Fm, Op.57, "Appassionata" (1805)
Since we just saw Professor Yui's masterclass on the Appassionata a couple days ago this should be a walk in the park now, right?

Piano Alfred Brendel 
0:00 - 1. Allegro Assai
9:52 - 2. Andante Con Moto
16:34 - 3. Allegro Ma Non Troppo
Channel Link

Movement 1. Allegro Assai

Exposition 

1st Theme (BROWN)

2nd Theme (OLIVE)

1st Theme (variation) (BROWN)

3rd Theme (BLUE)

Development (DARK VIOLET)

1st Theme

2nd Theme

3rd Theme

Recapitulation

1st Theme (BROWN)

2nd Theme (OLIVE)

1st Theme (variation) (BROWN)

3rd Theme (BLUE)

Coda (VIOLET)

Movement 2. Andante Con Moto (starting at 9:52)

Theme (BLUE)

1st Variation (BLUE 2)

2nd Variation (BLUE 3)

3rd Variation (BLUE 4)

4th Variation (BLUE 5)

Movement 3. Allegro Ma Non Troppo (starting at 16:34)

Exposition

Introduction (BLUE)

1st Theme (MAROON)

2nd Theme (OLIVE)

3rd Theme (var of 1st Theme) (BROWN)

Development - 1st Theme (PURPLE)

Recapitulation

1st Theme (MAROON)

2nd Theme (OLIVE)

3rd Theme (BROWN)

Development - 1st Theme (reprise) (PURPLE)

Recapitulation (reprise)

1st Theme (MAROON)

2nd Theme (OLIVE)

3rd Theme (BROWN)

Coda(BLUE)

(breakdowns from Alan Rich's book).

2/8 Beethoven's 8th: "So much better!" (Color Analysis)

After all this time I just realized I don't have one single post on Beethoven's 8th Symphony - and that's one my favorites, too!

From Wiki : When asked by his pupil Carl Czerny why the Eighth was less popular than the Seventh, Beethoven is said to have replied, "because the Eighth is so much better." A critic wrote that "the applause it [the Eighth Symphony] received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight; in short—as the Italians say—it did not create a furor."

Sadly under-rated even today, the 8th has a regal and energetic 1st movement, a novel "metronome-like" 2nd movement, a 3rd movement characterized by a "drunken" minuet, and a 4th movement which takes off at full speed and includes some hilarious hairpin harmonic turns.

So here comes my new favorite standby, the color waveform analysis....pictures (especially moving ones) are worth a thousand cadence descriptions... Another thing worth mentioning is that this performance was conducted by Felix Weingartner, who was the first to record all 9 Beethoven symphonies to disc.  In fact Weingartner even wrote a book describing the correct way to conduct Beethoven: "On the Performance of Beethoven's Symphonies".  I chose a recording from archive.org so that those annoying Youtube ads would not pop up....

SYMPHONY No.8 in F major, Op.93 (1812)
Conductor : Felix Weingartner, Vienna Philharmonic
Columbia 78rpm Set M-292 (CHAX 89 - 94), Recorded February 25-26, 1936, Digital transfer by F. Reeder 
0:00   1. Allegro vivace e con brio
7:15   2. Allegretto scherzando
10:53 3. Tempo di Menuetto
15:00 4. Allegro vivace

Movement 1: Allegro vivace e con brio

Exposition

1st Theme (BROWN)

Bridge (BLUE)

2nd Theme (GREEN)

Cadence Section (MAROON)

Development (VIOLET)

Recapitulation

1st Theme (BROWN)

Bridge (BLUE)

2nd Theme (GREEN)

Cadence Section (MAROON)

Coda (PURPLE)

Movement 2: Allegretto scherzando starting at 7:15

1st Theme (OLIVE)

2nd Theme (BLUE)

Cadence (DARK GREEN)

1st Theme (OLIVE)

2nd Theme (BLUE)

Cadence (DARK GREEN)

Coda (VIOLET) 

Movement 3: Tempo di Menuetto starting at 10:53

Part A (Minuet) (PURPLE)

Part B (Trio) (VIOLET)

Part A (Minuet) (PURPLE)

Movement 4: Finale starting at 15:00

Exposition

1st Theme (BROWN)

2nd Theme (BLUE)

Development 1 (PURPLE)

Recapitulation 1

1st Theme (BROWN)

2nd Theme (BLUE)

Development 2 (PURPLE)

Recapitulation 2

1st Theme (BROWN)

2nd Theme (BLUE)

Coda (MAROON)

Some more analysis notes: http://musicianmatters.com/music-analysis/beethovens-symphony-8/

2/3 Beethoven's "Spring" Violin Sonata (Color Analysis)

Time for another visual breakdown of a Beethoven work, this time Violin Sonata No. 5 in F major, Opus 24 "Spring" (1801).  I know I posted a Mutter/Orkis rendition before so this one will be by Perlman/Ashkenazy.  I need to get to those early violin sonatas one of these days....

Violin Sonata No. 5 in F major, Opus 24 "Spring" (1801)
Piano: Vladimir Ashkenazy / Violin: Itzhak Perlman
0:00 - I. Allegro
9:49 - II. Adagio molto expressivo
16:17 - III. Scherzo, allegro molto
17:32 - IV. Rondo, Allegro ma non troppo

Channel Link

Movement I. Allegro

Exposition

1st Theme (MAROON)

2nd Theme (BLUE)

3rd Theme (TAN)

Exposition Repeat

1st Theme (MAROON)

2nd Theme (BLUE)

3rd Theme (TAN)

Development (PURPLE)

Part 1 - on 1st Theme

Part 2 - on 2nd Theme

Recapitulation

1st Theme (MAROON)

2nd Theme (BLUE)

3rd Theme (TAN)

Coda (GREEN)

Movement II: Adagio molto expressivo (starting at 9:49)

1st Theme (piano) (MAROON)

1st Theme (violin)

2nd Theme (BLUE)

1st Theme Variation (piano) (MAROON 2)

1st Theme Variation (violin)

2nd Theme Variation (violin) (BLUE 2)

2nd Theme Variation (piano)

1st Theme Development (BROWN)

Movement III: Scherzo, Trio (starting at 16:17)

Scherzo (BROWN)

Trio (OLIVE)

Scherzo Repeat (BROWN)

Movement IV: Finale (starting 17:32)

Exposition

1st Theme (MAROON)

2nd Theme (OLIVE)

3rd Theme (GREEN)

Development

1st Theme (Var 1) (MAROON LIGHT)

2nd Theme (Var 1) (OLIVE LIGHT)

Transition (BLUE)

Recapitulation

1st Theme (Var 2) (MAROON)

2nd Theme (OLIVE)

3rd Theme (GREEN)

Development 2

1st Theme (Var 3) (MAROON LIGHT)

2nd Theme (Var 2) (OLIVE LIGHT)

Coda (2nd Theme) (OLIVE)

(timings were assisted by Alan Rich's "Play by Play" book.