A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2013 ERICA BUURMAN SCHOOL OF ARTS, LANGUAGES AND CULTURES For those who are interested in more in-depth research into Beethoven's compositional process, I found this thesis to be very interesting and informative. It addresses his sketches, choice of tonalities, methodology and compositional process. Although it doesn't include the Pathetique Sonata specifically, (the study begins with the year 1800), it does include a number of piano sonatas composed after 1800 and throughout the remainder of his life. It also includes symphonies, violin concerto, and other multi-movement works. Given that his sketches were so hard to decipher, that it was typical to find sketches of various works all together on the same page, and that the autograph original copies of his early sonatas are lost, resulting in no means of comparison between the sketches and finished works, some of our questions from the other night probably can't be answered with any degree of certainty.

Although we didn't address Sonata Allegro form, I think that how Beethoven worked within its framework is fascinating. The standard format is the Exposition with the A theme in the tonic key ( major or minor) followed by the B theme in the dominant (if A theme was in a major key) and relative major (if A theme was in the minor key). Then follows the Development section where ideas introduced in the Exposition are "developed" or as Dr. Chapman so gleefully expressed, in the composers playgroynd, all the while working back to the original tonic key. The final section is the Recapitulation where the A theme usually appers first in the tonic key and then the B theme is also in the tonic key. There might be a coda or tail at the end. I suggest that in the Pathetique Sonata, the Atheme actually has two parts, the first being the Grave, "A", which is then followed by the "rocket" them,m "A-1". It appears that virtually all of the important motivic material is introduced in the Grave and then is utilized in the second part of the A theme. When the Grave reppears it is in truncated form. Interestingly, the first time, right before the Development section, it is the first part of the Grave and the third appearance irhgt before the coda is more or less the second half of it. Even the B theme (m. 5(http://m.is)1) derived from material in the Grave., if we continue with the idea that the rising 2nd or falling 2nd are integral to the motivic material. The exposition is in c minor but as we discussed last night, it doesn't stay there very long., We travel through a number of keys, including a brief few measures in eb minor (the parallel minor of the relativer major key of Eb) until and we have a full cadence to the relative major key of Eb in m.89. Proportionately, the developement secion is short, but one could argue that there has already been significant development all along so Beethoven just continues and eventually works his way back to c minor for the Recap. The "B" theme, as in standard sonata form is in the tonic key of c minor Compared to a Mozart sonata, the deliniation of the sonata form in this Beethoven sonata is not so clearly defined.