Scan 231
The American history and encyclopedia of music, 1908
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1strumental performance and capable of appealing to the emotions through the intellect as less perfect forms had never done.
3In all cycle forms, that is, works in which two or more movements are combined to form a homogeneous whole, the distribution of parts is very much the same. The composer realizes that in order to convey his meaning to you he must present his subject in many aspects, he must make you feel the wholeness of his work by making clear its many parts, and to make it ring true he must appeal to both emotional and intellectual sensibilities, in other words, it must abide by the laws of all art and make in every respect a perfectly balanced composition. First there must be something to call and hold for a moment the attention and prepare you in a measure for what is to follow; and then while the mind is ready the appeal to the intellect is at once made either by an elaborate, even heavy movement, or a slow, pathetic one, but is immediately followed by something piquant, at least a lighter and livelier movement appealing to the emotions; and then, that there may be no overabundance of the more frivolous vein, there comes as a contrast and a rest, a slow, serious part with, in the classic form, a final rounding out in the finale by a repetition of part one in the original key.
5We follow this rather brief description of the all important sonata form by word pictures of four of Beethoven's well-known sonatas hoping they will aid the reader not only to more fully appreciate these splendid works, but through an understanding of them we trust he will have a clearer; more definite idea of what is meant by form or design in music.
7SONATA PATHETIQUE, OP. 13 (BEETHOVEN).
9This sonata is in a minor key (C minor), with a very slow, deliberate movement, of ten measures, "Grave," as Beethoven describes it. Its emotional feeling is of the deep, sorrowful kind, almost reminding one in its rhythm of some
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