Abstract
This paper examines the development section of Beethoven’s Appassionata Sonata in light of Donald Francis Tovey’s whimsical remark about the appearance of an E-quadruple flat. In addition to considering Tovey’s idea, this paper examines the analysis by Heinrich Schenker, and compares the two different analysts’ interpretations. This paper concludes with a renewed examination of the passage leading into the climactic diminished-seventh chord that ends the development section, offering a detailed voice-leading analysis, as well as an idea about its programmatic meaning.
Highlights
As ungainly as C-flat minor in bar 120 may seem, the spelling becomes even more unsightly if we were to continue further without Beethoven’s enharmonic change
Example 3 shows the contrapuntal origin of these bars, alternating 6/3 and 5/3 chords
A tonal reduction of the E-major statement of the opening theme that starts the development section is given in Example 4
Summary
As ungainly as C-flat minor in bar 120 may seem, the spelling becomes even more unsightly if we were to continue further without Beethoven’s enharmonic change. At the start of the development in bar 65, Beethoven enharmonically rewrites the A-flat minor harmony as G-sharp minor, and, through a 5-6 contrapuntal motion, moves to E major in bar 67.
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