This paper examines the development section of Beethoven’s Appassionata Sonata in light of Donald Francis Tovey’s whimsical remark about the appearance of an E-quadruple flat. In addition to considering Tovey’s idea, this paper examines the analysis by Heinrich Schenker, and compares the two different analysts’ interpretations. This paper concludes with a renewed examination of the passage leading into the climactic diminished-seventh chord that ends the development section, offering a detailed voice-leading analysis, as well as an idea about its programmatic meaning.

Ludwig van Beethoven; harmony; common practice harmony; Klaviersonate op. 57; Appassionata; Harmonik; Schenker-Analyse; Schenkerian analysis; Donald Francis Tovey

Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]

8

1

77

89

Gesellschaft für Musiktheorie (GMTH)