the answer is below
Explanation:
HARMONIC LEVEL: dominant chord links dilating the resolution in the tonic. Use greater than in the other classical composers of diminished chords. Modulations to distant shades. Dissonant supports and delays that resolve in consonance. The chromatic harmony of Romanticism is in germ. Beginning of the expressive use of harmony and the acordic bond
MELODIC LEVEL: Melodies deployed organized on chords and simple. In symphony No.5 the first theme is organized around a structured motif on a 3rd. less. In the Appassionata sonata, both theme A and B are chords displayed on a minor and major tone respectively.
RHYTHMIC LEVEL: setbacks and syncopes that give rise to abrupt rhythms that will appear later in Schumann. Use of irregular values. Acceleration of the scherzo tempo of the sonata until it becomes an Allegro molto.
TÍMBRICO LEVEL: piano orchestral conception: use of record washing. Amalgam of orchestral timbres: gives the orchestra a large volume. It will be the characteristic of the romantic orchestra (Berlioz, Brahms, Wagner). It gives virtuous passages to instruments that were previously considered only “stuffing” for example the double bass (9th symphony), the piccolo (6th symphony) timpani (5th symphony) ). Already with Mozart and Haydn, the bell was part of the composition. Beethoven makes it a form of individual expression. Intensive use of the thymic modulation.
FORMAL LEVEL: takes the form S to the limit thanks to your imagination in washing and development. It converts the development of harmonically unstable proxy into a suitable place for individual expression. It gives all the movements of the sonata the S shape (for example "invents" the lied sonata and the rondo sonata). Lasonata, understood as a work, can change its traditional disposition of movements (Allegro de Sonata-lied-scherzo-allegro) for a sonata such as the so-called Claro de Luna (Andante shaped Lied ABA - Scherzo-Allegro deSonata) or as in the op. 111 that begins with a Theme with variations in Adagio.
DYNAMIC LEVEL: It is par excellence the expressive parameter. In this context it is one of the signs of the composer's subjectivity. The abrupt passage from Piano to Forte is characteristic of this composer. The same is the SfP (Sforzato Piano) which means playing as hard as possible and then (immediately) soft
