Piano Sonata No. 8 in C minor, Op. 13 - Beethoven, commonly known as Sonata Path�tique, was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate path�tique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities. Prominent musicologists debate whether or not the Path�tique may have been inspired by Mozart's piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to that of the spacious second movement of Mozart's sonata. However, Beethoven's sonata uses a unique motif line throughout, a major difference from Haydn or Mozart?s creation. This is the original Beethoven arrangement of this sonata.

Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940

Ludwig van Beethoven's Piano Sonata no 8 in C minor, op 13 commonly known as Path�tique (although commonly thought to be one of the few works to be named by the composer himself, it was actually named by the publisher, to Beethoven's liking) was published in 1799, though written the year before, when the composer was 27 years old. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. At the time of its publication, Beethoven was pleased with the title Path�tique for his op 13 piano sonata, although in later life, he came to regret it, claiming that all of his works were pathetic.

The Path�tique Sonata is perhaps the earliest of Beethoven's compositions to achieve widespread and enduring popularity. It is widely represented on the concert programs and recordings of professional pianists. As one of the more famous Beethoven pieces, it has been incorporated into several works of popular culture.

The rondo theme of the second movement is one of the most beautiful and famous tunes in the repertoire. This theme is not merely pretty; it is, after the vicious first movement conclusion, a heroic if melancholy affirmation that life goes on, that beneath sorrow and pain, there is still grace and nobility.

This Adagio movement opens with the famous cantabile ("in a singing style") melody. This theme is played three times, interspersed with two modulating episodes: the first going from F minor to E flat major, the second from A flat minor to E major. With the final return of the main theme, the accompaniment becomes richer and takes on the triplet rhythm of the second episode. The brief coda's stylistic diversity is arresting: four bars of Romantic transcendence followed by a strikingly conventional 18th-century close.