Sonata No. 8, Op. 13, “Pathétique”

In 1798, when Beethoven composed the sonata commonly known as the “Pathétique,” he had not yet acquired the image of the stormy genius battling against cruel destiny. This popular conception of Beethoven took generations to fully develop; while based in part on his heroic struggles against increasing deafness, it is also rooted in the highly dramatic sense of struggle depicted in this sonata and much of his other music.

It is easy for English-speaking music students to assume that Beethoven considered this sonata pathetic in our contemporary sense; however, the word “pathétique” means “with pathos” and conveys an aura of passion and suffering appropriate to the work. The first few chords ( 1) establish a mood of tragic grandeur. The rhythm prefigures the funeral march from the later Op. 26 ( 2), and the sudden dynamic shifts emphasize the drama inherent in the harmonies.

The scope of the introduction and its integration into the rest of the first movement were unprecedented innovations. The coherence of the sonata extends through all three movements: The third movement’s opening theme recalls ( 3) the gesture that begins the first movement, and a theme from the second movement is an inversion of the same basic pattern. This technique of transforming a simple musical motive and incorporating it throughout a large work was perfected by Beethoven and deployed in various works throughout his life.

The sonata is dedicated to Prince Lichnowsky, a patron who generously supported and even housed Beethoven for a time. The two remained on good terms until 1806, when Beethoven took offense after the prince requested that he perform for a gathering of friends. Sensitive by nature, Beethoven felt he was being treated as a mere amusement for company and stormed out. He is reputed to have uttered as he left, “There are many princes and noblemen, but there is only one Beethoven.”