This final post of How to Listen (Classically) presents a fun test challenge of all the musical ideas discussed throughout the series. The goal is to listen to a complete sonata form movement, trying your best to identify the elements covered in previous posts. As a bit of amusement, I wrapped the challenge in some historical context to help guide the listening. If you enjoyed this series, keep an eye out for the next series: How to Listen (Baroque).

Final Listening Challenge

In 1795, the great Joseph Haydn was handed a piano sonata dedicated in his honor. The title, which read “Piano Sonata in F Minor,” was written with bold, rapid strokes—evidence of a confident and youthful hand. Haydn flipped open the manuscript and entered the compelling musical world. “Impressive theme,” he thought while restraining a delighted smile. The young man who handed him the sonata eagerly searched the older composers’ face for approval; the two were not on the fondest of terms.

When Beethoven first approached Haydn for composition lessons, he imagined a close master-disciple relationship. Instead, Haydn spent the majority of his time in England and gave less-structured guidance than Beethoven had hoped for. Nevertheless, their lessons did include intensive study of sonata form, and the Piano Sonata in F Minor was Beethoven’s best attempt to impress his renowned, if somewhat absent, teacher.

Haydn’s hazel eyes came to rest at the end of the first movement. His thick, black eyebrows stood up, one after the other, as he lifted his discerning face from the aggressively-inked pages. Beethoven braced for the older composers’ assessment. . .

Put on Your Wig and Powder Your Face, Because Here We Go

To begin this final listening challenge, you will help Joseph Haydn provide an assessment to the eagerly awaiting Beethoven. The focus will be the first movement of the Piano Sonata in F Minor, Op. 2, no. 1. Start by identifying the three main sections of the sonata form discussed in previous posts: exposition, development, and recapitulation. These are shown in the diagram below, followed by a recording of the complete movement.

Beethoven, Piano Sonata in F Minor, Op. 2, no. 1 - First Movement

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - i by E.J. Farnsworth E.J. Farnsworth

Once you’ve identified the exposition, development, and recapitulation, compare your listening with my identification of these sections below. (Don’t worry about hearing smaller-scale elements yet, like theme 1, transition, Etc., since these are covered in more detail later on). I’ve included some of Haydn’s comments to the young Beethoven beneath each section below as a compliment to your own thoughts about the piece:

Exposition:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Exposition by E.J. Farnsworth E.J. Farnsworth

“Your exposition,” began Haydn, “starts vivaciously, with a well-formed theme 1. You did an excellent job reusing part of the theme 1 material to begin your transition. This reused material will create an enjoyable surprise for the listener, who will think theme 1 is repeating, only to find they are well on their way to your impassioned theme 2. The closing section is very short, but given theme 2’s breadth, it works to balance the overall exposition.”

Development:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Development by E.J. Farnsworth E.J. Farnsworth

Beethoven could barely contain his smile after Haydn’s positive assessment of the exposition. His smile soon faded, however, as Haydn’s bushy eyebrows tilted diagonally across his brow—a bad omen, no doubt. “Your development,” remarked Haydn, “continues the powerful drive established in the exposition. Although you include more sequences than I might have, the theme 1 and 2 material seem to work fairly well with this energetic treatment.”

Recapitulation:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Recapitulation by E.J. Farnsworth E.J. Farnsworth

Considering Haydn’s formidable experience, Beethoven thought the comments about the development were generally approving. But what about the recapitulation? “As for the recapitulation,” said Haydn, with his eyebrows once again in their rightful place, “it meets every demand of a mature composition. Your small addition to the closing section, in particular, makes for a wonderful conclusion.”

Beethoven’s anxiety flowed out with his breath; he suddenly realized he’d been holding it in angst. The great, older composer seemed pleased with his work, and Beethoven felt a rush of pride well up within him. “As for the finer points,” interrupted Haydn, “let’s begin with the elements comprising the exposition.”

Breaking it All Down

Having identified the three main sections and providing some cursory feedback to Beethoven, it’s time to listen for the details. I won’t include comments by Haydn in this section, but instead will let you imagine your own feedback for Beethoven. That’s right, I want you to judge the upcoming, youthful composer—but be careful, I hear that he has quite the temper!

To help guide your listening, I’ve included listening diagrams before the three main sections, beginning with the exposition. Beneath these diagrams are a complete recording of the section, following by the breakdown of smaller-scale elements for you to check your answers. Don’t forget to think of some feedback as you go along.

Exposition:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Exposition by E.J. Farnsworth E.J. Farnsworth

Theme 1 (composed as a sentence):

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Exposition (Theme 1) by E.J. Farnsworth E.J. Farnsworth

Transition:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Exposition (Transition) by E.J. Farnsworth E.J. Farnsworth

Theme 2 (composed as an expanded sentence):

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Exposition (Theme 2) by E.J. Farnsworth E.J. Farnsworth

Closing Section:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Exposition (Closing Section) by E.J. Farnsworth E.J. Farnsworth

Following the exposition, comes the development. In the last post, we discovered that development sections use fragments (small chunks) of theme 1 and 2 to create sequences (repetitions of fragments, higher or lower in pitch space, like musical stairs). Following the complete development recording, I provide two examples of sequences Beethoven composes in the development for comparison with your listening. (He includes more than this, but two will suffice for the purposes of this challenge).

Development:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Development by E.J. Farnsworth E.J. Farnsworth

Sequence 1:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Development (Step-Up Sequence) by E.J. Farnsworth E.J. Farnsworth

Sequence 2:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Development (Step-Down Sequence) by E.J. Farnsworth E.J. Farnsworth

Finally, the recapitulation comes last and includes all the same material as the exposition with a few minor changes. Focus on Beethoven’s transition between theme 1 and theme 2. How does he tweak the transition compared to the exposition? As an added challenge, how does he change his closing section this time around?

Recapitulation:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Recapitulation by E.J. Farnsworth E.J. Farnsworth

Theme 1:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Recapitulation (Theme 1) by E.J. Farnsworth E.J. Farnsworth

Transition (tweaked):

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Recapitulation (Transition) by E.J. Farnsworth E.J. Farnsworth

Theme 2:

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Recapitulation (Theme 2) by E.J. Farnsworth E.J. Farnsworth

Closing Section (slightly expanded):

Beethoven - Piano Sonata In F Minor, Op. 2, no. 1 - Recapitulation (Closing Section) by E.J. Farnsworth E.J. Farnsworth

Out on Your Own

Having addressed the finer points of the composition, Haydn glanced down at Beethoven’s well-worn shoes as he gathered his final thoughts for the young composer. After a brief pause, he returned his gaze to Beethoven, and with a gentle smile, he said, “Herr Beethoven, I have a keen ear for potential and you possess a high degree. Your improvisatory abilities are remarkable, and this latest composition illustrates that you’ve learned how to focus these abilities into well-crafted forms. You are ready to go out on your own, but please take this final bit of advice. . .”

Beethoven’s chest swelled with joyful apprehension as he stared into the older composers eyes, who continued, “In you lies a tempestuousness that has yet to manifest in your music. Your distinct voice appears in certain passages of this sonata, but you are still trying too hard to imitate others. You now know the craft, so find your art. Listen carefully for your voice, and when it speaks, write it down as notes on the page. With careful effort, these notes will capture your innermost being; a soul truly expressed in music becomes eternal.”

Beethoven stood quiet. Haydn smiled slowly, patted the young man’s shoulder, and nodded his head. “So long, Herr Beethoven.”

And So Long, Dear Reader

You too are ready to go out on your own and utilize your new Classical listening skills. I sincerely hope you enjoyed this How to Listen (Classically) series, which began with theme types and worked all the way up to sonata form. As mentioned a few times throughout my posts, this series is not meant to teach you the way to listen. Rather, the series is meant to inspire a more enriching listening experience, which may take whatever form you decide. Each time you re-listen to your favorite works, you can transform your experience by deciding what you want to listen for. The best music can stand up to the most formidable listener. In fact, I have an amusing story on that very topic concerning Johann Sebastian Bach and his son, Carl Philipp Emanuel. But that will have to wait for the next series: How to Listen (Baroque).

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