Score Analyzed

Conclusion...

The way in which Beethoven is so aptly able to weave his such technically difficult passages with the customary Polonaise rhythm is quite amazing. Beethoven starts off very grandiose, as usual, yet he transitions to such a sweet melody in the 'A' section. It is similar to men's gymnastics in a way--strong and powerful, yet with grace and subtle delicacy. This piece was written for a woman, yet she was a very powerful woman. She ruled over all of Russia, yet she did it with a air of grace and dignity--bold yet feminine. 

It is nice that Beethoven shied away from using too much mode mixture. Instead of hitting the listener with mode mixture from the get go, he eases into it--adding a III here, using the parallel minor to switch keys there. In some ways, the piece parallels the life of Empress Elizabeth. She grew up rather one dimensional in that she really only cared about fashion and cared little for politics. But over time she gained knowledge and maturity. Beethoven's Polonaise starts out in one key, and stays there for a while, slowly incorporating other keys and textures.

It is in many ways interesting that in the same year that Beethoven's once proud hero Napoleon was banished to Elba--he would of course later return--he decided to write such a joyous piece. It might be a study in contrast, as Napoleon's reign ended in defeat while Elizabeth's reign ended in dignity and grace. Remember that Beethoven wrote an entire symphony for Napoleon, yet he grew disenchanted with Napoleon once he crowned himself King of Italy. Perhaps he felt the need to find a new hero. Or to say to his old hero, "Here's a hero that ruled in a glorious manor." The fact that he used an old Russian empress would strike a chord with the man who failed to conquer Russia.

Harmonic Analysis - Coda

The Coda remains harmonically tame, as Beethoven moves toward the ending. The only instance of modal mixture occurs in measure 148 with a III chord. Otherwise, Beethoven uses secondary dominants to set up most of the sub-dominant chords. From measure 157 until the end, Beethoven has many cadential 6/4 chords moving to I. By the end, the final cadence is already the third 6/4 cadence, so Beethoven decides to play in very fast, in eighth notes.

Harmonic Analysis - final A Section

The final A section is unlike the other two A sections in that it starts out in A Major, and has two completely different b and c sections. The A Major is set up in the last 5 measures of the 'C' section, which were in a minor. The V7 in the measure 100 moves perfectly to the I in A Major in measure 101. Beethoven remains in A Major until measure 108, where the first chord of that measure can either be read as a iv mixture chord in A Major or a diatonic ii in C Major. Beethoven then quickly uses a iio7 mixture chord to further distance the key from A Major before ending the phrase with a half-cadence. The 'b' section begins by finally play a I in C Major. In 112, Beethoven has a sort of open-ended diminished sound that eventually leads to the IV and then a long V7 chord with a chromatic sequence in the melody into the second 'a' section. The 'c' section stays close to the key of C Major, using secondary dominants to set up most IV and ii chords. He ends this section with a half-cadence.

Harmonic Analysis - C Section

The 'C' section is fairly tricky harmonically. This is where Beethoven incorporates actual key changes with the use of modal mixture. In the last two bars of the second 'A' section, Beethoven switches to c minor. This 4-5 bar switch allows him to easily move to the key of Ab Major in measures 84 and 85. It is not quite clear where Beethoven actually moves to Ab, as 84 and 85 can either be the VI and Neapolitan in c minor or I and IV in Ab. He remains in Ab until around measure 95. This time is a fairly obvious transition to a minor, as measure 95 is either the bVI in Ab or the VI in a. A perfect use of modal mixture to move between two completely different keys.

Harmonic Analysis - B Section

The form of the 'B' section is aba1. The 'B' Section starts on the V and cadences to the I chord in measure 36 and then again in measure 40. In measure 41, Beethoven moves far away from the key of C with a III chord that does not move back into the key of C until measure 47. Measure 47 moves back into the theme that was established in measure 33. The remainder of the 'B' section plays out as a very long deceptive cadence ending at measure 54 on the vi chord.

Harmonic Analysis - A Section

The first 'A' Section is fairly conservative harmonically. There is no use of mode mixture, as Beethoven allows the piece to develop a defined harmonic center before moving to different modes and keys. In fact, Beethoven really stays around the simple V-I cadence, while only utilizing a few sub-dominant and secondary dominant chords. However, Beethoven sets up most of his sub-dominant chords with a secondary dominant--especially the ii and iii chords.

Structural Analysis

Beethoven uses a fairly simple ABACA1 Coda form during this piece. Beethoven begins with a introductory cadenza that leads into the theme. The A section can be broken up into abac, with the 'a' section introducing the main theme that is developed throughout the piece. The 'B' section is aba with the 'b' section moving to the key of E Major. The 'C' section moves to the key of c minor for a brief period before moving to Ab Major and then back into the original key of C Major. The 'C' section can be broken up into ab. The final A starts out with the Theme, but in A major. It can be broken up into abac, but with rather different 'b' and 'c' sections than the first two 'A' sections. The Coda starts at measure 141 with the first theme from the 'C' section. The piece plays out from there, with a two bar tempo change at measure 166 and then a return back to the original tempo for the last 4 bars, which is actually the second theme from the 'A' Section.

Polonaise, for piano, Op. 89

Beethoven wrote his Polonaise in 1814 for Empress Elizabeth Alexina of Russia. She came to power in 1741 and ruled over Russia until 1761. She is seen by many historians as the transition ruler between two of Russia's greatest rulers, Peter and Catherine. She was free-spirited, and enjoyed having many different lovers in her youth. When her father Peter died, she cared little for politics, allowing her sister Anne of Courland to become Empress, while Elizabeth was allowed to serve as Russian society's fashion leader. By 1741, she had matured and gained control over the Russian Empire. Her reign was known for its grace and renewed sense of national pride that had been lost when her cousin came into rule. Some of her many attributes included the reformation of the Senate, the eradication of the "Secret Council" and abolishing the death penalty. As well, she was a found supporter of the arts, importing many great Italian musicians and creating a state theater.

Beethoven's Polonaise is bright romp that paints Empress Elizabeth with much joy and grace. The piece is in the standard 3/4 time signature for a Polonaise.

Alfred Brendel's version of Polonaise Op. 83

Score to Beethoven's Polonaise Op. 83

The life of Beethoven

Composer Ludwig van Beethoven was baptized December 17th, 1770 in Bonn in what is now Germany. With a musician for a father, Ludwig showed a flair for music at a very young age, and his father hoped to have the next child prodigy--much in the same vain as a young Mozart--to show off to the musical world. Ludwig first learned music with his father, but soon switched to other notable teachers such as Christian Gottlob Neefe or Franz Joseph Haydn. Under these teachers, Ludwig would learn not only about harmony and counterpoint, but also the works of many great ancient and modern philosophers. This study of philosophy may explain why Beethoven was known for always reworking and repeating his melodic ideas.

Beethoven published his first work: 9 variations, in C Minor, for Piano, on a march by Ernst Christoph Dressler (WoO 63) before the tender age of 12. And by the age of 14, Ludwig was appointed organist of the court of Maximilian Franz, Elector of Cologne. In this new seat of honor, Ludwig was a able to mingle with many new circles, while making friendships that would last a lifetime. Franz even funded for Ludwig to travel to Vienna, where he would meet with Mozart himself and continue his musical education. He would soon take Vienna by storm.

In 1800, Beethoven performed his first symphony in Vienna, which many people found strange and overly extravagant. At such a young age, Ludwig was pushing many boundaries that had been established for years. Yet, just as he was making his name known, Beethoven feared that he would soon go deaf. Though struck with remorse for the cruelties of life, Beethoven resolved to continue writing like never before (List of works).

By 1809, Beethoven had hopes of leaving Vienna. However, offered an annual grant of 4000 florins by three of his greatest admirers in the aristocratic class, Beethoven could not refuse to leave Vienna. Now financially set, Beethoven was allowed to compose for whomever and whatever he chose, unlike so many other musician before him--such as Bach, Mozart and Haydn. However, this financial freedom would only last for three years, as one of his benefactors fell into financial trouble, and another fell off of a horse and died. Thus began Beethoven's struggle to make enough money to make ends meet and keep composing.

After a lifetime of composing while having to struggle with deafness and financial instability, Beethoven died on March 26th, 1827. He was buried at the church of the Holy Trinity.

More on the life of Beethoven.