Assignment Listen to the first movement of Beethoven's "Pathetique” Sonata, and give at least two examples of the composer writing extreme contrasting opposites in a musical element, as described in the reading guide.Just give a quick example, and a time stamp of where you heard the contrasting elements on the recording. https://www.youtube.com/watch?v=c4JRKmYj_nE (This is the link of the music)\ Here are some references if you want: The Pathétique begins in C minor with an intense, slow introduction, dominated by an opening motive in dotted rhythm: long-short-long-short-long-long. Slow introduction 0:00 This six-note idea seems to pose a series of unresolved questions as it is repeated on higher and higher pitch levels. The tragic mood is intensified by dissonant chords, sudden contrasts of dynamics and register, and pauses filled with expectancy. The slow introduction is integrated in imaginative and dramatic ways into the allegro that follows it. The tension of the introduction is maintained in the allegro con brio, a breathless, fast movement in sonata form. The opening theme, in C minor, begins with a staccato idea that rapidly rises up a two-octave scale. It is accompanied by low broken octaves, the rapid alternation of two tones an octave apart. First theme 1:41 Growing directly out of the opening theme is a bridge that is also built from a climbing staccato motive. Bridge motive 1:57 This bridge motive has an important role later in the movement. The contrasting second theme, which enters without a pause, is spun out of a short motive that is repeatedly shifted between low and high registers. Second theme 2:08 This restless idea begins in E flat minor but then moves through different keys. The exposition is rounded off by several themes, including a high running passage and a return of the opening staccato idea in E flat major. High running passage 2:53 The development section begins with a dramatic surprise: Beethoven brings back the opening bars of the slow introduction. This reappearance creates an enormous contrast of tempo, rhythm, and mood. After four bars of slow music, the fast tempo resumes as Beethoven combines two different ideas: the staccato bridge motive and a quickened version of the introduction motive. The introduction motive is presented in a rhythmically altered form: short-short-short-long-long. Development 3:11 Bridge introduction motives combined 3:54 The bridge motive is then developed in the bass, played by the pianist’s left hand while the right hand plays high broken octaves. After several high accented notes, the brief development concludes with a running passage that leads down to the recapitulation. For a while, the recapitulation runs its usual course as themes from the exposition are presented in the tonic key of C minor. But Beethoven has one more surprise for the coda—after a loud dissonant chord and a brief pause, he again brings back the opening of the slow introduction. This time the s ...

1. Assignment
Listen to the first movement of Beethoven's "Pathetique”
Sonata, and give at least two examples of the composer writing
extreme contrasting opposites in a musical element, as
described in the reading guide.Just give a quick example, and a
time stamp of where you heard the contrasting elements on the
recording.
https://www.youtube.com/watch?v=c4JRKmYj_nE
(This is the link of the music)
Here are some references if you want:
The Pathétique begins in C minor with an intense, slow
introduction, dominated by an opening motive in dotted rhythm:
long-short-long-short-long-long.
Slow introduction
0:00
This six-note idea seems to pose a series of unresolved
questions as it is repeated on higher and higher pitch levels. The
tragic mood is intensified by dissonant chords, sudden contrasts
of dynamics and register, and pauses filled with expectancy.
The slow introduction is integrated in imaginative and dramatic
ways into the allegro that follows it.
The tension of the introduction is maintained in the allegro con
brio, a breathless, fast movement in sonata form. The opening
theme, in C minor, begins with a staccato idea that rapidly rises
up a two-octave scale. It is accompanied by low broken octaves,
the rapid alternation of two tones an octave apart.

2. First theme
1:41
Growing directly out of the opening theme is a bridge that is
also built from a climbing staccato motive.
Bridge motive
1:57
This bridge motive has an important role later in the movement.
The contrasting second theme, which enters without a pause, is
spun out of a short motive that is repeatedly shifted between
low and high registers.
Second theme
2:08
This restless idea begins in E flat minor but then moves through
different keys. The exposition is rounded off by several themes,
including a high running passage and a return of the opening
staccato idea in E flat major.
High running passage
2:53
The development section begins with a dramatic surprise:
Beethoven brings back the opening bars of the slow
introduction. This reappearance creates an enormous contrast of
tempo, rhythm, and mood. After four bars of slow music, the
fast tempo resumes as Beethoven combines two different ideas:
the staccato bridge motive and a quickened version of the
introduction motive. The introduction motive is presented in a
rhythmically altered form: short-short-short-long-long.
Development
3:11
Bridge introduction motives combined
3:54
The bridge motive is then developed in the bass, played by the

3. pianist’s left hand while the right hand plays high broken
octaves. After several high accented notes, the brief
development concludes with a running passage that leads down
to the recapitulation.
For a while, the recapitulation runs its usual course as themes
from the exposition are presented in the tonic key of C minor.
But Beethoven has one more surprise for the coda—after a loud
dissonant chord and a brief pause, he again brings back the
opening of the slow introduction. This time the slow music is
even more moving, as it is punctuated by moments of silence.
Then the fast tempo resumes, and the opening staccato idea and
powerful chords bring the movement to a decisive close.
Recapitulation
4:34
Opening of slow introduction
5:51
Second Movement: Adagio cantabile (lyrical adagio)
Listening Outline: Beethoven, Piano Sonata in C Minor, Op. 13
(Pathetique), II
Listen: Beethoven, Piano Sonata in C Minor, Op. 13
(Pathetique), II
The second movement, in A flat major, is slow, intimate, and
songlike. It is in rondo form and may be outlined A B A C A—
coda. The legato main theme (A), played in the piano’s rich
middle register, is one of Beethoven’s most lyrical melodies.
Section A
0:00
This melody is immediately repeated an octave higher with
fuller harmony.
Section B
1:11
Section C
2:42

4. Return of Section A
3:44
Section B is also legato and maintains the opening mood while
introducing a new accompaniment of repeated chords. Section C
is a duet between tender legato phrases in the top part and more
animated staccato replies in the bass. This section brings some
contrast with a shift to minor, a powerful crescendo, and a
triplet rhythm in the accompaniment. On its last return, the
main melody sounds more flowing, because it is now
accompanied by a rocking figure in triplet rhythm. The
movement is rounded off by a poetic coda that descends
leisurely to soft concluding chords.
Third Movement: Rondo (Allegro)
Listening Outline: Beethoven, Piano Sonata in C Minor, Op. 13
(Pathetique), III
Listen: Beethoven, Piano Sonata in C Minor, Op. 13
(Pathetique), III
The last movement, in C minor, is a rapid and energetic rondo.
It is outlined A B A C A B A—coda. The lively main theme (A),
in minor, contrasts with the other sections, which are in major.
Section A
0:00
The B section includes several lyrical themes. The C section is
polyphonic and contains ideas that are shifted from one hand to
the other. Sections B and C both end with a sustained dominant
chord that creates expectancy for the return of the main theme
and key. Toward the end of the stormy coda, a sustained chord
is followed unexpectedly by the opening notes of the main
theme, in major rather than minor.
Section B
0:25
Section C
1:26

5. End of coda
3:50
But the consolation of major is brief, as a rapid downward scale
brings the movement to a powerful close in C minor.
Symphony No. 5 in C Minor, Op. 67 (1808)
The Fifth Symphony opens with one of the most famous
rhythmic ideas in all music, a short-short-short-long motive.
Beethoven reportedly explained this four-note motive as “fate
knocking at the door.” It dominates the first movement and also
plays an important role later in the symphony. The entire work
can be seen as an emotional progression from the conflict and
struggle of the first movement, in C minor, to the exultation and
victory of the final movement, in C major. The finale is the
climax of the symphony; it is longer than the first movement
and more powerful in sound.
Through several different techniques, Beethoven brilliantly
welds four contrasting movements into a unified work. The
basic rhythmic motive of the first movement (short-short-short-
long) permeates the symphony. It is prominent in a marchlike
theme in the third movement. And this third-movement theme is
later quoted dramatically within the finale. The last two
movements are also connected by a bridge passage.
Beethoven jotted down a few themes for the Fifth Symphony in
1804 but mainly worked on it during 1807 and 1808, an
amazingly productive period when he also composed his Mass
in C Major; Sonata for Cello and Piano, Op. 69; and Symphony
No. 6.
First Movement: Allegro con brio (allegro with vigor)
The allegro con brio is an enormously powerful and
concentrated movement in sonata form. Its character is
determined by a single rhythmic motive, short-short-short-long,
from which Beethoven creates an astonishing variety of musical
ideas. Tension and expectation are generated from the very
beginning of the movement. Three rapid notes of the same pitch
are followed by a downward leap to a held, suspenseful tone.

6. This powerful idea is hammered out twice by all the strings in
unison; the second time, it is a step lower in pitch.
As the opening theme continues in C minor, Beethoven
maintains excitement by quickly developing his basic idea. He
crowds varied repetitions of the motive together and rapidly
shifts the motive to different pitches and instruments.
The second theme, in E flat major, dramatically combines
different ideas. It begins with an unaccompanied horn call that
asserts the basic motive in a varied form (short-short-short-
long-long-long).
This horn-call motive announces a new legato melody, which is
calm and contrasts with the preceding agitation. Yet even
during this lyrical moment, we are not allowed to forget the
basic motive; now it is muttered in the background by cellos
and double basses.
Beethoven generates tension in the development section by
breaking the horn-call motive into smaller and smaller
fragments until it is represented by only a single tone.
Supported by a chord, this tone is echoed between woodwinds
and strings in a breathtaking decrescendo. The recapitulation
comes as a tremendous climax as the full orchestra thunders the
basic motive. The recapitulation also brings a new expressive
oboe solo at the end of the first theme. The heroic closing
section of the recapitulation, in C major, moves without a break
into a long and exciting coda in C minor. This coda is like a
second development section in which the basic motive creates
still greater power and energy.