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Beethoven: The 'Sonata Pathétique', piano sonata No. 8 in C minor, Op. 13

Ludwig van Beethoven’s Piano Sonata No. 8 in C minor, Op. 13, commonly known as ‘Sonata Pathétique’, was written in 1798 when the composer was 27 years old. It has remained one of his most celebrated compositions. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. It was actually named ‘Grande sonate pathétique’ (to Beethoven’s liking) by the publisher, who was impressed by the sonata’s tragic sonorities. The sonata consists of three movements: I. ‘Grave’ (Slowly, with solemnity) — ‘Allegro di molto e con brio’ (Very quickly, with vigour) The first movement is in sonata form. It begins with a slow introductory theme, marked ‘Grave’. The exposition, marked ‘Allegro di molto con brio’, is in 2/2 time (‘alla breve’) in the home key of C minor and features three themes. The opening has been sampled and featured in countless works; for instance, Lady Gaga used the theme in the intro to the music video for her 2011 song ‘Marry the Night’. II. ‘Adagio cantabile’ (Slowly, in a singing style) This movement exemplifies the expressive ‘Adagio’ style of many slow movements in the classical period. The famous cantabile melody is played three times, always in A♭ major, separated by two modulating episodes. III. Rondo: ‘Allegro’ (Quickly) The sonata closes with a movement in C minor. The main theme closely resembles the second theme of the ‘Allegro’ of the first movement: its melodic pattern is identical for its first four notes, and its rhythmic pattern for the first eight. There is also a modified representation of the melody from the second movement, so it connects all three movements together. The movement’s sonata rondo form includes a brief coda. The common use of ‘sforzando’ creates a forceful effect. The ‘Sonata Pathétique’ was an important success for Beethoven, selling well and helping create his reputation as a composer, not just as an extraordinary pianist. Not only was it instantly popular, it also exposed the world to the characteristics that Beethoven would continue to develop in the coming years. This performance is by Peter Bradley-Fulgoni. To accompany Beethoven’s ‘Sonata Pathétique’, we have selected paintings by the artist J. M. W. Turner. Joseph Mallord William Turner RA (1775 – 1851) was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting. In Turner’s later years, he used oils ever more transparently and turned to an evocation of almost pure light by use of shimmering colour. In keeping with the sad or tragic aspect of Beethoven’s ‘Sonata Pathétique’, we have selected Turner’s painting entitled ‘The Fighting Temeraire’. The painting depicts the 98-gun HMS Temeraire, one of the ships that played a role in the Battle of Trafalgar, being towed up the Thames by a paddle-wheel steam tug in 1838, towards its final berth in Rotherhithe to be broken up for scrap. Turner was twenty-eight years old when Britain entered the Napoleonic Wars and ‘had a strong patriotic streak’. The Temeraire was a well-known ship from her heroic performance at the Battle of Trafalgar, and her sale by the Admiralty had attracted substantial press coverage, which was probably what brought the subject to his attention. The composition of this painting is unusual in that the most significant object, the old warship, is positioned well to the left of the painting, where it rises in stately splendour and almost ghost-like colours against a triangle of blue sky and rising mist that throws it into relief. The beauty of the old ship contrasts with the dirty blackened tugboat with its tall smokestack, which churns the otherwise still surface of the river. On the opposite side of the painting to Temeraire, the Sun sets above the estuary, its rays extending into the clouds above it, and across the surface of the water. The red of the clouds is reflected in the river, repeating the colour of the smoke from the tugboat. The sun setting symbolises the end of an era; one where sail has been overtaken by steam. Behind Temeraire, a sliver of Moon casts a beam across the river, symbolising the commencement of the new, industrial era. The demise of heroic strength is the main subject of the painting. It has been suggested that the ship stands for the artist himself, with an accomplished and glorious past but now contemplating his mortality. Turner called the work his ‘darling’. The painting hangs in the National Gallery, London, having been bequeathed to the nation by the artist in 1851, as part of the Turner Bequest. In a poll organised by BBC Radio 4’s ‘Today’ programme in 2005, it was voted the nation’s favourite painting.