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E-SCORE PDF VERSION
In three parts played continuously
- 1 An introduction and a moderate movement
- 2 A scherzo
- 3 A recitative chained to an aria with variations
Please note: The only division in this sonata is between the first part and the scherzo. Despite this, and although everything is chained from the scherzo to the end, the Sonata divides itself into two emotionally climates, the arietta giving a peaceful response to the contrasted, often dramatic, sometimes strange set of what precedes.
The variations following the arietta are keeping its serenity, despite being highly differentiated. Obviously it is this bipartition that defines the actual structure of the sonata, and not the division into movements with differentiated tempi. Furthermore the thematic materials of these two parts are based on melodic intervals of opposite character. The first part on thirds and tritones intervals presented in false relations, the second on perfect fifths which provide all the thematic.
One will observe, in two episodes inserting in the scherzo: the pianistic writing of the monodic formulas with an offset between the two hands, allowing chord progression by successive substitution of the notes in these chords; a succession of descending fourths hung below a held third, completing the chord with ever-changing intervals.
The third Variation contains two episodes in which the pianistic writing acquires an orchestral character not by deploying sound power but by the contrast between modes of punctuation. This writing obviously excludes any use of the sustain pedal.
