Conclusively, there are many differences and similarities between the two pieces 'O Fortuna' and 'Pathetique Sonata', the most obvious difference being that they are from vastly different genres- Pathetique Sonata being a beautiful piece whilst O Fortuna is a Bold piece.
Firstly, a strong difference between the pieces is their timbre; the timbre of Pathetique Sonata is structured, calming and very repetitive, consisting mainly of variations of themes. O Fortuna, in contrast, is chaotic and colourful, deliberately clashing notes and chords to create discord and disharmony and then dramatically reducing this to create a tense mood in place of the chaotic mood of the chorus.
A similarity between the pieces is the way in which sections of each piece move polyphonically and are layered with the use of counter melodies and unison. The two pieces also employ the use of expansion of parts- both harmonic and melodic- to create greater rhythmic support or volume.
A second similarity between the pieces analysed is the instrumentation. Both use the piano as performing media for the pieces, and both exploit the pianos range to expand or reduce it to suit respective sections of the pieces. Pathetique Sonata uses the piano solely for the entire piece whilst O Fortuna uses the piano as an orchestral reduction of the original orchestral part written in the original O Fortuna.
Tempo is an element that O Fortuna and Pathetique Sonata use differently. Whilst O Fortuna frequently changes the tempo to which the melody and harmony play to suit the hurried or hushed sections of the piece, the Pathetique Sonata does not change in tempo from its written 2/4, the only unwritten change in the timing of the performing media is a slower rhythm played by the accompaniment. O Fortuna, however, consistently changes its tempo and minim values to emphasize the wild and chaotic changes to the piece, especially in the change from hushed verse to amplified chorus.
Harmonically, the harmony of the Pathetique Sonata is very often reflecting the rhythm played by the melody, or providing a supporting rhythm or counter melody to the other parts, however O Fortuna is consistently moving in block harmony, creating contrasting rhythms between parts and clashing chords, creating confusion, muddying the beat and enhancing the sense of chaos that the piece depicts, in comparison to the calm, lullaby- like quality of the Pathetique Sonata.
Both pieces engage the use of a range of expressive devices. Both use dynamics such as p (pianissimo), f (forte), ff (Fortissimo), pp (pianissimo), pauses and crescendos in necessary sections of the piece. Both pieces also use chromatic accidentals. O Fortuna uses these dynamics in the extreme reductions or ascensions of volume, whilst Pathetique Sonata employs these dynamics throughout the entirety of the piece, but mostly in variations and towards the end in subtly hints to the audience of upcoming changes to the music or the approaching change to a new section or theme.
In conclusion, the two pieces ‘O Fortuna’ and ‘Pathetique Sonata’ share many similarities and differences. The contrast between the bold and the beautiful pieces consist of many elements such as the difference in use of harmonies, where the use of accompaniment is employed differently between the two pieces- in Pathetique Sonata where the harmony often repeats or supports the melody in harmony to the rhythm the melody is playing, in contrast to the often clashing and muddying use of the accompaniment in O Fortuna. The two pieces also vary in tempo, where O Fortuna changes in tempo consistently compared to the Pathetique Sonata, which stays the same tempo almost through the entirety of the piece. Layering and instrumentation, however, are similarities that the two pieces have, both moving in similar ways to layer the music and create unison in sections of the music, both pieces also employ the use of piano as performing media, although the Sonata uses solely and O Fortuna uses the piano to represent an orchestral reduction of the original score. Both pieces use similar dynamics, also, however these dynamics are used to exclusively different purposes; O Fortuna uses them for extreme changes in volume whereas Pathetique Sonata uses them throughout the piece, especially for variations and to hint at approaching sections of music. Collectively, both pieces share similarities and differences, consequential of their different genres.
Firstly, a strong difference between the pieces is their timbre; the timbre of Pathetique Sonata is structured, calming and very repetitive, consisting mainly of variations of themes. O Fortuna, in contrast, is chaotic and colourful, deliberately clashing notes and chords to create discord and disharmony and then dramatically reducing this to create a tense mood in place of the chaotic mood of the chorus.
A similarity between the pieces is the way in which sections of each piece move polyphonically and are layered with the use of counter melodies and unison. The two pieces also employ the use of expansion of parts- both harmonic and melodic- to create greater rhythmic support or volume.
A second similarity between the pieces analysed is the instrumentation. Both use the piano as performing media for the pieces, and both exploit the pianos range to expand or reduce it to suit respective sections of the pieces. Pathetique Sonata uses the piano solely for the entire piece whilst O Fortuna uses the piano as an orchestral reduction of the original orchestral part written in the original O Fortuna.
Tempo is an element that O Fortuna and Pathetique Sonata use differently. Whilst O Fortuna frequently changes the tempo to which the melody and harmony play to suit the hurried or hushed sections of the piece, the Pathetique Sonata does not change in tempo from its written 2/4, the only unwritten change in the timing of the performing media is a slower rhythm played by the accompaniment. O Fortuna, however, consistently changes its tempo and minim values to emphasize the wild and chaotic changes to the piece, especially in the change from hushed verse to amplified chorus.
Harmonically, the harmony of the Pathetique Sonata is very often reflecting the rhythm played by the melody, or providing a supporting rhythm or counter melody to the other parts, however O Fortuna is consistently moving in block harmony, creating contrasting rhythms between parts and clashing chords, creating confusion, muddying the beat and enhancing the sense of chaos that the piece depicts, in comparison to the calm, lullaby- like quality of the Pathetique Sonata.
Both pieces engage the use of a range of expressive devices. Both use dynamics such as p (pianissimo), f (forte), ff (Fortissimo), pp (pianissimo), pauses and crescendos in necessary sections of the piece. Both pieces also use chromatic accidentals. O Fortuna uses these dynamics in the extreme reductions or ascensions of volume, whilst Pathetique Sonata employs these dynamics throughout the entirety of the piece, but mostly in variations and towards the end in subtly hints to the audience of upcoming changes to the music or the approaching change to a new section or theme.
In conclusion, the two pieces ‘O Fortuna’ and ‘Pathetique Sonata’ share many similarities and differences. The contrast between the bold and the beautiful pieces consist of many elements such as the difference in use of harmonies, where the use of accompaniment is employed differently between the two pieces- in Pathetique Sonata where the harmony often repeats or supports the melody in harmony to the rhythm the melody is playing, in contrast to the often clashing and muddying use of the accompaniment in O Fortuna. The two pieces also vary in tempo, where O Fortuna changes in tempo consistently compared to the Pathetique Sonata, which stays the same tempo almost through the entirety of the piece. Layering and instrumentation, however, are similarities that the two pieces have, both moving in similar ways to layer the music and create unison in sections of the music, both pieces also employ the use of piano as performing media, although the Sonata uses solely and O Fortuna uses the piano to represent an orchestral reduction of the original score. Both pieces use similar dynamics, also, however these dynamics are used to exclusively different purposes; O Fortuna uses them for extreme changes in volume whereas Pathetique Sonata uses them throughout the piece, especially for variations and to hint at approaching sections of music. Collectively, both pieces share similarities and differences, consequential of their different genres.