Today's session with Beethoven's Op. 7 E-flat Piano Sonata had to do with the extraordinary tension generated by unlikely voicing of what a theoretically trained musician would identify as an E-flat chord.  Beethoven calls far too much attention to the G and to the B-flat to allow anyone to believe that the third movement is simply in E-flat major.  
When a G-flat subsequently changes the the key to E-flat minor and eventually to C-flat major the change is far more unsettling than most changes of major into minor.  That all-black-key environment is in every respect startling, perhaps because of the undue attention Beethoven has from the outset drawn to G.
 


Comments


Comments are closed.