Ungár, Tamás2025-05-062025-05-062025-05-02https://repository.tcu.edu/handle/116099117/67053This document undertakes a comparative analysis of Nikolai Medtner’s Piano Sonata in F Minor, Op. 5 (1903) and Ludwig van Beethoven’s Piano Sonata No. 1 in F Minor, Op. 2 No. 1 (1795), centered on their shared motivic foundations: the descending sixth and the sigh motives. Despite differences in period and style, both composers demonstrate a masterful use of sonata form and motivic development to achieve structural unity and expressive depth. Drawing on Hepokoski and Darcy’s Sonata Theory, the study traces how these motives evolve across movements, shaping thematic continuity and formal design. While both sonatas feature similar structural elements—four-movement layouts, F minor tonality, and motivic integration—their treatment of material reveals distinct compositional voices. The analysis highlights Medtner’s often-overlooked innovations, challenging his reputation as a conservative and reframing his work within the Austro-German lineage. Ultimately, this study offers new perspectives on motivic function, form, and modernism, encouraging deeper interpretive engagement for performers and scholars alike.Format: OnlineenMusical PerformancesBeethoven, Ludwig vanMedtner, NikolaiMotivic analysisPiano sonatasText