A LITTLE BIT COUNTRY....
Delbert MCClinton~Somebody To Love You
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The second movement is a beautiful song, and Billy Joel reacted to it by turning it into a doo-wop tune, “Ths Night”. This movement is in ternary format (A-B-A), and the return of the first theme is in the rhythmic underlay of the middle section.
Beethoven: Piano Sonata in C minor, Op. 13, second movement
Schubert’s slow movement is in the same key as Beethoven, A-flat, and the theme at first has little resemblance to Beethoven’s. That haunting chord change at 1:00 becomes a major feature of the movement. But he turns to the minor with Beethoven’s harmonic underlay and rhythm to bring back the first theme. The contemplative A-flat section turns dark again with the minor key section stated fortissimo and then back to a rueful major. This movement is one of Schubert’s battles between light and darkness. The final statement of the A-flat theme is heartbreaking. Schubert was one of the few who could make major key tunes sadder than minor key tunes. Note the plagal cadence at the end, a kind of resigned “Amen.”
Schubert: Piano Sonata in C minor, D. 958, second movement
Beethoven did not write a scherzo in his Opus 13, so Schubert had to one-up the late composer and write a scherzo that makes clever use of silences, something other composers, such as Tchaikovsky, would emulate but never surpass. The first theme is derived from the finale of Beethoven’s Opus 13.