Ministry of Higher and Professional Education and Science of the Russian Federation

State Autonomous Educational Institution of Higher Professional Education "Moscow State Regional

social and humanitarian institute "

Department of Music

Course work

by harmony

Ludwig van Beethoven. Early sonatas

Completed by: Bakhaeva Victoria

student of group Muses 41

philological faculty

Checked by: Shcherbakova E.V.,

Doctor of Culturology

Kolomna 2012

Introduction

Chapter 1. Evolution of the genre of sonata in the works of Beethoven

1.1 The meaning and place of the piano sonata genre in the works of J. Haydn and V.A. Mozart

1.2 The meaning and place of the piano sonata genre in the work of the Viennese classics

1.3 Piano Sonata - "laboratory" of Beethoven's creativity

Chapter 2. Early sonata work of Beethoven: characteristics, features

2.1 Features of early sonata creativity

2.2 Analysis of Sonatas No. 8 c-moll ("Pathetic"), No. 14 cis moll ("Moonlight")

Conclusion

Bibliography

Introduction

Ludwig van Beethoven (1770-1827) - the great German composer and pianist, one of the founders of the Viennese school of classical music. His works are full of heroism and tragedy; there is not even a trace of the gallant refinement of the music of Mozart and Haydn in them. Beethoven is a key figure in Western classical music between Classicism and Romanticism, one of the most respected and performed composers in the world.

Beethoven is usually spoken of as a composer who, on the one hand, completes the classicist era in music, and on the other, opens the way for the "romantic age". In a broad historical sense, this formulation is not objectionable. However, it does little to understand the essence of Beethoven's style itself. For, touching some aspects at certain stages of evolution with the work of the classicists of the 18th century and the romantics of the next generation, Beethoven's music does not actually coincide in some important, decisive signs with the requirements of either style. Moreover, it is generally difficult to characterize it with the help of stylistic concepts that have developed on the basis of studying the work of other artists. Beethoven is an inimitable individual. At the same time, he is so many-sided and multifaceted that no familiar stylistic categories cover all the diversity of his appearance.

He wrote in all genres that existed in his time, including opera, ballet, music for dramatic performances, choral compositions. But the most significant in his legacy are instrumental works: piano, violin and cello sonatas, concerts<#"601098.files/image001.gif">

They are answered by a gentle, melodious melody with a touch of supplication, sounding against the background of calm chords:

It seems that these are two different, sharply contrasting themes. But if we compare their melodic structure, it turns out that they are very close to each other, almost the same. Like a compressed spring, the introduction harbored a tremendous force that required an exit, a release.

A swift sonata allegro begins. The main party resembles violently surging waves. Against the background of the restless movement of the bass, the melody of the upper voice runs up and down anxiously:

The linking part gradually soothes the excitement of the main theme and leads to a melodic and melodious side part:

However, the wide "run-up" of the side theme (almost three octaves), the "pulsating" accompaniment give it a tense character. Contrary to the rules established in the sonatas of the Viennese classics, the side part of the Pathetique Sonata sounds not in the parallel major (E flat major), but in the minor scale of the same name (E flat minor).

The energy is growing. It breaks through with renewed vigor in the final game (in E flat major). Short figurations of broken arpeggios, like biting strokes, run across the entire keyboard of the piano in a diverging motion. The lower and upper voices reach the extreme registers. The gradual increase in sonority from pianissimo to forte leads to a powerful climax, to the highest point of the musical development of the exposition.

The second final theme that follows is just a short respite before another "explosion". At the end of the conclusion, the impetuous theme of the main party sounds unexpectedly. The exposition ends with an unstable chord. At the turn between exposure and development, the dark theme of the intro reappears. But here her formidable questions remain unanswered: the lyrical theme does not return. But its importance increases greatly in the middle section of the first movement of the sonata - development.

Development is small and very stressful. "Struggle" flares up between two sharply contrasting themes: the impetuous main part and the lyrical theme of the introduction. At a fast pace, the intro theme sounds even more restless, pleading. This duel of "strong" and "weak" turns into a hurricane of impetuous and stormy passages, which gradually subside, going deeper and deeper into the lower register.

The reprise repeats the themes of the exposition in the same order in the main key - in C minor.

The changes concern the linking party. It has been significantly shortened, since the tone of all themes is the same. But the main party has expanded, which underlines its leading role.

Just before the end of the first part, the first theme of the introduction appears again. The first movement ends with the main theme, which sounds at an even faster pace. Will, energy, courage won.

The second movement, Adagio cantabile (slowly, melodiously) in A-flat major, is a deep reflection on something serious and significant, perhaps a memory of what has just been experienced or thoughts about the future.

A noble and majestic melody sounds against the background of a measured accompaniment. If in the first part the pathos was expressed in the uplifting and brightness of the music, then here it manifested itself in the depth, sublimity and high wisdom of human thought.

The second movement is amazing in its colors, reminiscent of the sound of the instruments of the orchestra. Initially, the main melody appears in the middle register, and this gives it a thick cello color:

The second time the same melody is set out in the upper register. Now its sound resembles the voices of violins.

A new theme appears in the middle of the Adagio cantabile:

The roll call of two voices is clearly discernible. A singing, tender melody in one voice is answered by a sharp, "displeased" voice in the bass. The minor scale (the eponymous A-flat minor), the restless triplet accompaniment give the theme a disturbing character. A dispute between two voices leads to a conflict, the music becomes even more poignant and agitated. Sharp, accentuated exclamations (sforzando) appear in the melody. The sonority is enhanced, which becomes more dense, as if the whole orchestra is entering.

With the return of the main theme, there is a reprise. But the nature of the topic has changed significantly. Instead of a leisurely accompaniment by sixteenth notes, restless triplets are heard. They moved here from the middle part as a reminder of the anxiety experienced. Therefore, the first topic no longer sounds so calm. And only at the end of the second part do gentle and welcoming "farewell" phrases appear.

The third movement is the final, Allegro. The impetuous, agitated music of the finale in many ways makes it akin to the first movement of the sonata.

The main key in C minor also returns. But there is not that courageous, strong-willed pressure that so distinguished the first part. There is no sharp contrast between the themes in the finale - the source of the "struggle", and with it the tension of development.

The finale is written in the form of a rondo sonata. The main theme (refrain) is repeated four times here.

It is she who determines the nature of the entire part:

This lyrically agitated theme is close both in character and in its melodic pattern to the side part of the first movement. She, too, is upbeat, pathetic, but her pathos has a more restrained character. The refrain melody is very expressive.

It is quickly remembered and can be sung easily.

The refrain alternates with two other themes. The first of them (the side part) is very mobile, it is presented in E flat major.

The second is given in polyphonic presentation. This is the episode replacing the development:

The finale, and with it the whole sonata, ends with a coda. Energetic, strong-willed music sounds akin to the moods of the first movement. But the stormy impetuosity of the themes of the first movement of the sonata gives way here to decisive melodic turns, expressing courage and inflexibility:

What new did Beethoven bring to the Pathetique Sonata in comparison with the sonatas of Haydn and Mozart? First of all, the character of the music has changed, reflecting deeper, more significant thoughts and feelings of a person (Mozart's sonata in C minor (with fantasy) can be considered as the immediate predecessor of Beethoven's Pathetique Sonata). Hence - a comparison of sharply contrasting themes, especially in the first part. The contrasting juxtaposition of themes, and then their "clash", "struggle" gave the music a dramatic character. The great intensity of the music also caused a great power of sound, the scope and complexity of the technique. In some moments of the sonata, the piano seems to acquire an orchestral sound. The Pathetic Sonata has a much larger volume than the Haydn and Mozart sonatas, it lasts longer in time.

"Moonlight Sonata" (no. 14)

The most inspired, poetic and original works of Behoven belong to the Moonlight Sonata (op. 27, 1801) *.

* This title, in fact very little suited to the tragic mood of the sonata, does not belong to Beethoven. So it was called by the poet Ludwig Rellstab, who compared the music of the first movement of the sonata with the landscape of Lake Lucerne on a moonlit night.

In a sense, the Moonlight Sonata is the antipode of the Pathetique. There is no theatricality and operatic pathos in it, its sphere is deep spiritual movements.

During the creation of Lunar, Beethoven generally worked on updating the traditional sonata cycle. Thus, in the Twelfth Sonata, the first movement is written not in sonata form, but in the form of variations; The Thirteenth Sonata is of improvisational free origin, without a single sonata allegro; in the Eighteenth there is no traditional "lyrical serenade", it is replaced by a minuet; in Twenty-first, part became an extended introduction to the ending, and so on.

The cycle "Lunar" is also in line with these searches; its form differs significantly from the traditional one. And, nevertheless, the features of improvisation inherent in this music are combined with logical harmony usual for Beethoven. Moreover, the Lunnoy sonata cycle is marked by a rare unity. The three parts of the sonata form an inseparable whole, in which the finale plays the role of the dramatic center.

The main deviation from the traditional scheme is the first movement - Adagio, which neither in its general expressive appearance nor in its form is in contact with the classicist sonata.

In a sense, Adagio can be perceived as the prototype of the future romantic nocturne. It is imbued with a deep lyrical mood, it is painted with gloomy tones. Some common stylistic features bring him closer to romantic chamber-piano art. Of great and, moreover, an independent significance is the texture of the same type, sustained from beginning to end. Also important is the method of opposing the two planes - the harmonic "pedal" background and the expressive melody of the canted warehouse. The subdued sound that dominates the Adagio is characteristic.

"Impromptu" by Schubert, nocturnes and preludes by Chopin and Field, "Songs without Words" by Mendelssohn and many other plays of romantics go back to this amazing "miniature" from the classicist sonata.

And at the same time, this music is at the same time different from the dreamy romantic nocturne. She is too deeply imbued with chorale, an exalted, prayerful mood, depth and restraint of feelings that are not associated with subjectivity, with a changeable state of mind, inseparable from romantic lyrics.

The second movement - a transformed graceful "minuet" - serves as a light interlude between the two acts of the drama. And in the finale, a storm breaks out. The tragic mood, restrained in the first part, breaks through here in an unrestrained stream. But again, purely in Beethoven's way, the impression of unbridled, unrestrained emotional excitement is achieved through strict classicist methods of shaping *.

* Finale shape - sonata allegro with contrasting themes.

The main constructive element of the finale is a laconic, invariably repeating motive, intonationally associated with the chord texture of the first movement:

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The finale anticipates the Fifth Symphony in its formative principles: an expressive mournful motive on the principle of dance rhythmic ostinatism permeates the development of the entire movement, playing the role of its main architectonic cell. In the Sixteenth Sonata (1802), etude-piaist techniques become a means of creating a scary-humorous image. Tertz tones are also extraordinary here.

exposition ratios (C-dur - H-dur) anticipating the development of the "Pastoral Symphony".

The eighteenth (1804), large-scale and somewhat free in its cyclical structure (the second part here is a marching scherzo, the third is a lyrical minuet), combines the features of the classicist clarity of thematicism and rhythmic movement with the dreaminess and emotional freedom inherent in romantic art.

Dance or humorous motives sound in the Sixth, Twenty-second and other sonatas. In a number of works, Beethoven emphasizes new virtuoso pianistic tasks (apart from those mentioned in "Lunar", "Aurora" and the Sixteenth, also in the Third, Eleventh and others). He always associates a technique with the new expressiveness he developed in piano literature. And although it was in Beethoven's sonatas that the transition from harpsichord playing to modern pianistic art was realized, the course of development of 19th century pianism did not coincide on the whole with the specific virtuosity developed by Beethoven.

Conclusion

As a result of the study, the following conclusions were made.

The genre of the piano sonata has gone through a significant path of development in the work of the Viennese classics J. Haydn and V.A. Mozart. Haydn's sonatas were the most important of the clavier compositions. He, in this genre, seeks the image of the ideal sonata. This can explain the fact that his sonatas come in two, three, four and even five movements. For Haydn, expressiveness, development and transformation of the material are very important.

Mozart, in turn, also does not avoid difficulties. His sonatas are very pianistic and easy to perform. The style of his sonatas evolves through the complication of thematic and development.

L. Beethoven completes the stage of development of the classical sonata. The genre of the sonata becomes the leading one in his work. Beethoven discovers a new romantic art in which not external dramas prevail, but the inner experiences of the hero. Beethoven is not afraid of sharp and strong accents, the straightforwardness of the melodic pattern. Such a revolution in Beethoven's work is a transition from the old style to the new.

All the events in Beethoven's life were reflected in the sonata work of the early period.

The early sonatas are 20 sonatas written by Beethoven between 1795 and 1802. These sonatas reflected all the main features of the composer's early period.

In the process of the formation of the early sonatas, the style and musical language of the composer evolved. In the process of analyzing some of the series of piano sonatas of the early period, we identified the following features: not only exquisite ornamentation, inseparable from the style of expression of the 18th century, disappeared in his music. The balance and symmetry of the musical language, the smoothness of the rhythm, the chamber transparency of the sound - these stylistic features, characteristic of all, without exception, Viennese predecessors of Beethoven, were also gradually ousted from his musical speech. The sound of his music became rich, dense, dramatically contrasting; his themes acquired hitherto unprecedented laconicism, severe simplicity.

Thus, early sonata creativity played a significant role in the formation of Beethoven's style and influenced all his later works.

Bibliography

1. Alshvang A. L. V. Beethoven. Essay on life and work. Fifth edition - M .: Music, 1977.

Kirillina L.V. Beethoven's life and work: In 2 volumes. Research Center "Moscow Conservatory", 2009.

Konen V. History of foreign music. From 1789 to the middle of the 19th century. Issue 3 - M .: Music, 1967.

Kremlev Yu, Beethoven's Piano Sonatas. Moscow: Music, 1970.

Livanova T. History of Western European music before 1789. - M .: Music, 1982

Musical encyclopedia. - M .: Soviet encyclopedia, Soviet composer. Ed. Yu.V. Keldysh.

Pavchinsky S. Some innovative features of Beethoven's style, Moscow, 1967.

Protopopov V.V. Sonata form in Western European music in the second half of the 19th century / V.V. Protopopov. M .: Music 2002

Prokhorova I. Musical literature of foreign countries. - M .: Music, 2002

Fishman H.L., Ludwig van Beethoven. On piano performance and pedagogy, in collection: Questions of piano pedagogy, issue 1, M., 1963 pp. 118-157

11.

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DEPARTMENT OF CULTURE OF SAKHALIN REGION

GOU SPU SAKHALIN SCHOOL OF ARTS

COURSE WORK

On the subject "Analysis

musical works "

topic: "Analysis of the final of the First

L. Beethoven's sonatas "

Completed by a 5th year student

specialty "Music theory"

Maksimova Natalia

Head Mamcheva N.A.

Reviewer

Yuzhno-Sakhalinsk

WORK PLAN

I INTRODUCTION

1. Relevance of the work

2. Goals and objectives of the work

II MAIN PART

1. A brief theoretical excursion into the topic

2. Detailed analysis and analysis of the finale of the 1st sonata

III OUTPUT

IV APPENDIX-DIAGRAM

V

Beethoven is one of the greatest phenomena in world culture. "His work ranks on a par with the art of such titans of artistic thought such as Tolstoy, Rembrandt, Shakespeare" 1. In terms of philosophical depth, democracy, boldness of innovation, "Beethoven has no equal in the musical art of Europe in past centuries" 2 The composer developed most of the existing genres of music. Beethoven is the last composer of the 19th century for whom the classical sonata is the most organic form of thinking. The world of his music is impressively diverse. Within the framework of the sonata form, Beethoven was able to expose the various types of musical thematicism to such freedom of development, to show such a vivid conflict of themes at the level of elements, which the composers of the 18th century did not even think about.

The sonata form attracted the composer with many inherent qualities: showing (exhibiting) musical images of different nature and content presented unlimited possibilities, “opposing them, pushing them together in an acute struggle and, following internal dynamics, revealing the process of interaction, interpenetration and transition in the end into a new quality "3

Thus, the deeper the contrast of images, the more dramatic the conflict, the more complex the process of development itself. And development in Beethoven becomes the main driving force behind the transformation of the sonata form. Thus, the sonata form becomes the basis for the overwhelming majority of Beethoven's works. According to Asafiev, “a wonderful prospect opened up before music: along with the rest of the manifestations of the spiritual culture of mankind, it [the sonata form] could by its own means express the complex and refined content of the ideas and feelings of the 19th century”.

The principles of Beethoven's thinking crystallized most fully and vividly in the two most central genres for him - the piano sonata and the symphony.

In his 32 piano sonatas, the composer, with the greatest penetration into the inner life of a person, recreated the world of his experiences and feelings.

This work is relevant because the analysis of the finale as the concluding part of the sonata is important for understanding the composer's musical thinking. A. Alshvang believes that artistic techniques and principles of the development of thematicism give reason to consider the finale of the First Sonata "the initial link in a whole chain of stormy finals, right up to the finale of" Appassionata ".

The purpose of the work is a detailed structural analysis of the finale of Beethoven's 1st Piano Sonata, in order to trace the development and interaction of musical themes based on the sonata form. tasks of work.

IIMAIN PART.

The origin of the sonata form dates back to the late 17th - early

XVIII centuries. Its features were most clearly manifested in the piano works of Domenico Scarlatti (1685-1757). They found their fuller expression in the works of F.E.Bach (1714-1788). The sonata form was finally established in the classical style - in the works of Haydn and Mozart. The pinnacle of this was the work of Beethoven, who embodied deep, universal ideas in his works. His works of the sonata form are distinguished by the significance of their scale, compositional complexity, and the dynamics of the development of the form as a whole.

V.N. Kholopova defines the sonata form as reprisal, based on the dramatic contrast of the main and secondary parts, on the tonal opposition of the main and secondary parts in the exposition and their tonal convergence or unification in the reprise. (Kholopov V.N.).

L.A. Mazel defines the sonata form as reprisal, in the first part (exposition) of which there is a successive

two themes in different keys (main and subordinate), and in the reprise these themes are repeated in a different ratio, most often, tonally converging, and the most typical way of both themes is in the main key. (Mazel L.A. The structure of musical works. M .: Muzyka, 1986. p. 360).

I.V. The way is such a definition: a sonata form is called a form based on the opposition of two themes, which, when first presented, contrast both thematically and tonally, and after development, both are repeated in the main key, i.e. tonally converge. (Sposobin I.V. Musical form. M .: Muzyka, 1980. p.189)

Thus, the sonata form is based on the interaction and development of at least two contrasting themes.

In general terms, the outline of a typical sonata form is as follows:

EXPOSITION

DEVELOPMENT

GP SP PP ZP

GP SP PP ZP

One of the main driving forces in sonata form is the contradiction, the contrast between the two themes. An impetuous theme is juxtaposed with a passionate, but melodious, dramatic - with a calm, soft, disturbing - with a song, etc.

In general, for the first theme (the main party), a more active character is typical.

The following key selection is typical for the side part:

1. In major pieces - usually the key of the major dominant, the third major step. Less often, the key is chosen for the sixth major step or the sixth low minor.

2. In minor works, a parallel major, minor dominant is more typical. Starting with Beethoven, the key of a major sixth low is encountered.

The sonata form contains several typical features:

1) The main party is usually a free formation or a period. This is a dynamic, efficiently active section.

2) Side party - more often an image of a different character. Usually tonally more stable than the main one, more complete in its development and usually larger in scale.

3) The connecting part - makes the transition to the side batch. It is tonally unstable, does not contain closed constructions. Contains 3 sections: initial (adjacent to the main party), developmental and final (pre-production).

4) The final part is, as a rule, a series of additions that confirm the tonality of the side part.

5) The development is characterized by general tonal instability. Mainly, the elements of the main and secondary party are developing.

In the course of its development, the sonata form was enriched with various modifications, for example: the sonata form with an episode instead of development, an abbreviated sonata form (without the middle part), etc.

As a rule, the sonata form is used in the first movements of sonata-symphonic cycles - sonatas, symphonies, instrumental quartets, quintets, as well as opera overtures. This form is often used in the finals of sonata-symphonic cycles, sometimes in slow movements.

In general, the drama of the parts of the SSTs is as follows:

Part I. As a rule, active, efficient. Exposure of contrasting images, conflict.

Part II. Lyric center.

Part III. Genre and everyday character.

Part IV. The final. Summing up, conclusion of the idea.

The sonata is usually in three movements.

The first piano sonata in f moll (1796) begins a line of tragic and dramatic works. It clearly shows the features of the "mature" style, although chronologically it is within the early period. Its first movement and finale are characterized by emotional tension and tragic acuteness. Adagio opens up a number of beautiful slow movements in Beethoven's music. “The finale of the sonata - Prestissimo - stands out sharply from the finale of its predecessors. Stormy, passionate character, rumbling arpeggios, bright motive and dynamic contrasts "1. Here the finale plays the role of a dramatic peak.

The finale of the 1st sonata is written in the form of a sonata allegro with an episode instead of development and developmental elements.

The exposition begins with main party in F minor at the Prestissimo tempo "very fast", in free formation. This part is already based on 2 contrasting themes - a dramatic active-volitional "in F minor" and a song and dance "in A flat major"

1st topic- very energetic and expressive, thanks to the fast-paced triplet accompaniment.

Already on the example of the first two measures, one can notice Beethoven's favorite technique - the contrast of the elements of the theme:

1) Textured contrast:

In the lower part there is an active triplet movement.

The top part has a massive chord texture.

2) Dynamic contrast: the first motive - on p ("piano" - quiet), the second - on ("forte" - loud)

3) Register contrast: “quiet motive in the middle register, loud - low and high without filling in the middle register, (range E - c 3).

4) Contrast "sound": - bottom part - continuous "flowing" presentation, top - dry abrupt chords.

2nd topic- differs sharply from the first. It is based on a song and dance genre.

The texture of this theme is more rarefied - long durations appeared - half, while in the first theme the triplet movement was based on eighths.

1. Tonal contrast: the first phrase in A flat major, the second in F minor.

2. "Characteristic", pictorial contrast: the first phrase is of a dance-song nature, in the second - a new touch is introduced - tr (trill), which emphasizes some fervor of the phrase. The structure of the second theme is built on the principle of summation - short motives and chants.

3. In the second topic, there is a contrast of registers.

B. vt 6-7 the beginning of the phrase is located in the middle register (range g - as 2), then (vt 8-9) the theme "spreads" in opposite directions without filling the middle (range c - c 3).

Carrying out the second phrase immediately begins in a tight location in the middle register (range e 1 - f 2).

In addition, the A-flat major phrase plays an important dramatic role in the finale: the further episode is anticipated by this tonality and intonation.

Thus, within the main party there already exists a vivid conflict at the level of two themes: a tonal conflict (juxtaposition of f moll and As dur), a thematic one, which was already mentioned above, a dynamic conflict (the first theme is a juxtaposition of p and, the second - p)

For a figurative comparison, the contrast of strokes is also important. 1st theme - abrupt staccato, 2nd theme - non legato and legato.

The second theme of the main party introduces directly into the linking party.

The next section is linking party - forms, together with the main one, a certain 3-part form, the middle of which is the second theme of Ch. party, since the binder is based on the thematicism of the 1st theme.

The connecting part is emphasized by an even greater contrast of dynamics (p and ff see vols. 13 - 14) and is built entirely on the harmony of DD, as a prelude to the side part.

Thus, the linking batch combines the initial and pre-production sections at the same time.

A two-bar transition to a bunch is marked with a double __ ("fortissimo" - very loud, strong).

Side batch consists of two contrasting sections - the so-called 1 side batch and 2 side batch.

Thus, the side part is written in two particular forms - in relation to the main one, a structural contrast is formed. The tonality of the minor dominant (c minor) chosen for her - which, in general, is typical of classical sonata forms - forms the most important feature of the sonata form exposure - tonal contrast. With the introduction of the side part, there is a thematic and figurative contrast with the main part. The first side game is dramatic. This is emphasized by the abundance of unstable harmonies, fluidity of presentation, continuous triplet, dynamism, undulating movement. It is characterized by tension. The rich range of the melodic line and "pivot points" - from es 1 to as 2 and descent to d - emphasizes the impetuosity of feelings - the whole theme occupies at first the middle register, then covers the middle and high, and at the end - the low register (in the lower part - C 1).

The second side game is written in the form of a period with a re-presentation. It contrasts thematically with the first side. Its basis is songwriting. Large lengths (quarters in comparison with the triplet presentation of eighths of the first secondary), legato, "quiet" dynamics, melodiously descending phrases, clear structure and song character, lyricism of the image, light, sad mood.

Nevertheless, there is some affinity between the themes: the triplet movement in the lower part (in relation to the second theme, it is more appropriate to speak of the accompaniment). Within the theme there are deviations in Es dur - this gives some enlightenment to the image.

Side batch leads to bright dynamic the final batch , consisting of a number of additions and based on the material of the first theme of the main part. The final section returns an active volitional image. The first time it is taken, it returns to the original key f moll, so that the entire exposure is repeated. In the second run, it leads to a new section - episode in the key of As dur.

The introduction of the episode is explained by the fact that the images of the main and secondary parts were not brightly contrasted, and therefore the episode of the finale of Beethoven's first sonata is a lyrical digression after the stormy minor "statements". The elegiac character is emphasized by the semper piano e dolce (all the time quietly, tenderly).

The episode is written in a simple 2-part form and has a number of elaborate elements that will be discussed later.

Part 1 of the episode is a 20-bar period. His canted theme "grew", if we compare, from the second theme of the main party. This theme is characterized by melodiousness and dance character. The structure of the theme is built on the principle of summation: small chanting motives and then ornamented song phrases.

The second theme contrasts with the first only thematically. Throughout the episode, the lyrical, song-like image dominates.

The further developmental part is interesting in comparison of topics. One would expect the development of elements of the main and side parties. But, since the latter was also dramatic in nature, the development compares the elements of the main part and the episode as a struggle between a dramatic active line and lyrically - a song one.

The contrast between these elements is indicative. If in the main part the chords were expressed vividly dynamically, then in development they were in pp ("pianissimo" - very quiet). And, on the contrary, the theme of the episode implied a gentle lyrical performance, here - an emphasis on ___ ("sforzando" - suddenly loud).

In the developmental part, 3 sections can be distinguished: the first 10 measures are the initial section, based on the thematicism of the main part and episode, and so far "growing" from the previous key.

The next 8 bars are a developmental section based on the brightly accentuated elements of the episode's theme. And the last section (the next 11 bars) is the pre-ordinary section in the reprise, where the last 7 bars on the dominant organ point to f moll, against the background of which the elements of the main part are developed, thereby preparing the transition to the reprise.

Reprise, as in the exposition, it begins with chap. etc. in the main key f moll. But, unlike the exposition, the length of the second theme is no longer 8, but 12 tons. This is explained by the need for a tonal rapprochement of the party. As a consequence, the ending of the second topic has been slightly changed.

The connecting batch of the reprise also based on the first theme of the main installment. But now it is built on the dominant precursor to f minor, bringing both parts closer to the main key.

Reprise side batch differs from the side part of the exposure only in tonality.

Only in the final batch changes are observed. The elements of the first theme of the main installment are now presented not in the upper part, but in the lower part.

At the end of the finale, an active volitional principle is affirmed.

On the whole, “tragic notes, stubborn struggle, protest are heard in the first sonata. Beethoven will return to these images in the "Moonlight Sonata", "Pathetique", "Appassionata" 1.

Output:

The form of a piece of music is always the expression of an idea.

On the example of the analysis of the finale of the 1st sonata, one can trace the principle of the Viennese classical school - the unity and struggle of opposites. Thus, the form of the work plays a major role in the figurative drama of the work.

Beethoven, while preserving the classical harmony of the sonata form, enriched it with vivid artistic techniques - a vivid conflict of themes, a sharp struggle, work on the contrast of elements already within the theme.

For Beethoven, a piano sonata is equivalent to a symphony. His achievements in the field of the piano style are colossal.

“Expanding the range of sounding to the limits, Beethoven revealed the previously unknown expressive properties of the extreme registers: the poetry of high airy transparent tones and the rebellious rumble of bass. With Beethoven, any kind of figuration, any passage or short scale acquires semantic significance ”2.

The style of Beethoven's pianism largely determined the future development of piano music in the 19th and subsequent centuries.

LIST OF USED LITERATURE

1. Bonfeld M.Sh.

2. Galatskaya V.S. Musical literature of foreign countries. Issue 3.M .: Music, 1974

3. Grigorovich VB Great musicians of Western Europe. M .: Education, 1982

4. Konen V.D. History of foreign music. Issue 3.M .: Music, 1976

5. Kyuregyan T.S.

6. Mazel L.A. The structure of musical works. Moscow: Music, 1986

7. Sposobin I.V. Musical form. Moscow: Music, 1980

8. Tyulin Yu. Musical form. Moscow: Music, 1974

L. Beethoven, sonata no. 4 (op. 7) Es-Dur, part 2 -brief analysis of musical form

The piano sonata Es-Dur op.7 (no. 4) was written in 1796-1797.

The tonality of the second movement of the sonata (C-Dur), represents the trinity ratio to Es-Dur, which was often used by composers of the Romantic era.

Part shape- a kind of sonata form without development, characteristic of the slow parts of Beethoven's sonata-symphonic cycles. Brief diagram of the part:

Main party (8 + 16 vols.) C-Dur

Side batch (12 vol.) As-Dur-f-Des

Small development section (14 vol.)

Main party (8 + 15 vols.) C-Dur

Side batch (5t) C-Dur

Final section (8t) C-Dur

Coda (4 vol.) C-Dur

Main party is a section with three-part elements (24 volumes). The first 8 bars expose the main image in the form of a one-tone period with an intruding mid-cadence. The next 16 bars represent the development of the main theme (6 volumes G-Dur), a reprise with a climax and a link to the side part.

Several origins can be found in the genre foundations of the main part. One of the most striking is the chorale, which manifests itself in the chordal choral texture. The second genre source is declamation - the intonation of measured speech, combined with chanting. Another genre source is hidden in the background thanks to the very slow tempo (Largo) - this is a three-beat danceability reminiscent of a landler.

In the process of development, the dance genre basis gradually comes to the fore (vols. 9 - 12), combining with "decorations" in the melody, in which the influence of the era of classicism is manifested. Also, in the process of development, another genre basis appears - marching, associated with a dotted rhythm. The rhythm of the march is clearly manifested in the reprise of the section of the main part in the chords on the forte.

The melody of the main part is restrained, of a rotating type, representing a descent from the top at the beginning to the tonic. The movement of the melody is mainly gradual, it sings on the interval of the tonic third. In the middle section, the melody three times emphasizes the I and V steps of the dominant key (G-Dur). In the reprise of the main part, the melody ascends in waves to the culmination (18 volumes): here the inversion of the quart intonation of the main theme appears.

Theme side party is an example of a "derivative contrast" from the main theme - her image is more melodious, individualized than the image of the main party. It is more "mosaic", divided into constructions of 4 bars, it combines the development function at the same time, which is also facilitated by the instability of tonal development - the change of As-f-Des.

In the genre foundations of the side part, there is also chorale, thanks to the chord texture, declamation is more vividly manifested, thanks to the semitone second intonations, and there are also associations with the march due to the dotted rhythm.

The melody is more directed upward (in contrast to the main part, where the movement is directed downward). Also, the effect of upward striving is facilitated by the repetition of the theme of the side part from higher sounds: Es - C - As

Function development in the form of a part, a small section (14 bars) plays, consisting of a dialogue (5 volumes), a false recapitulation in B-Dur in upper register (3 volumes), a straight on a descending quart motif of the main part (2 tons) and a link to reprise (4 volumes).

Reprise the main part almost completely repeats the material of the exposition, reducing the link to the secondary part by 1 measure. A finer melismatic is added in the middle section, and at the climax, the aspiration to the top is intensified, thanks to the duplication of the fourth in the melody of the ascending fourth intonation in the lower voice.

The side part in the reprise is performed in the main key (C-Dur) in a greatly abbreviated form, transferred to the lower voice, which is close in character to the main theme, and ends with extended cadence in the main key, which can be regarded as the final section.

The last 6 measures of the part can be designated as code, built on the harmonization of the intonations of the main part.

It should be noted that the means intonational unification of the entire movement, the Beethoven principle of “growing” all the thematic material of a part from one thematic “impulse” appears.

This "impulse" is here represented by the first two motives of the main party, from which all subsequent themes of the part arise.

They consist of several "constituent parts":

1.Available upward movement per second

2.Rhythm: quarter (strong beat) - eighth

3.Quarte Downward Leap for Beat

4.Dotted rhythm for strong beat

5 chordal choral texture

All subsequent development is a "recombination" of these "constituent parts", placing them in new conditions and combinations.

Initially, the fourth downward intonation is paired with a dotted rhythm on the downbeat. Already in the reprise of the main part, we see the quarter intonation in an inverted, ascending form. In the side part, the fourth intonation is carried out in an ascending form on the third beat.

The dotted rhythm, even in the main part, is combined with a second intonation on the strong beat, and later in the side part on a weak beat, giving it an aspiration. Later, on the same dotted rhythm, the final section is based in which the interval of the fourth becomes a third.

Conclusions: In the second part of Beethoven's sonata No. 4 of the early period of creativity, one can notice the influence of the music of the era of classicism (the principles of constructing a sonata cycle, the presence of decorations), as well as features of the era of romanticism (the third tonal ratio of parts (I part - Es, II part - C) and parties (GP - C, PP - As)).

At the same time, you can already see the characteristic features of Beethoven's style of slow parts: restrained, philosophical lyrics, speech directed to many people, which is achieved by combining the genre foundations of chorality in chord accompaniment and declamation in melody. You can also see the emergence of the principle of creating all the musical material of a part from the intonations of the main theme, which later will clearly manifest itself in Beethoven's symphonies.

1794 Ludwig van Beethoven lives in Vienna, is successful in society, the love interests of a young man are neither duration nor depth - but they happen very often. But the main thing for a musician is the fame of a virtuoso performer, which is growing more and more ... However, a young musician is far from the carefree enjoyment of success: in order to maintain and increase it, you need to indulge the tastes of the public - often frivolous, greedy for the outward brilliance of virtuosity - by sacrificing his own creative aspirations. Which way will the composer go?

Beethoven's genius allowed him to combine in his creations of this period the manifestations of his own creative individuality with the showiness that made such a favorable impression on the Viennese public. In the four-part Sonata No. 2 in A major, which he created in 1796, there are also many virtuoso devices - such as passages or wide leaps, there is also a hint of humor that makes one recall Haydn's works, but there are also features that are already at this time, they clearly outline the appearance of the future author of the "Appassionata" and the sonatas "".

Thus, typical Beethoven accents on the pivot points appear already in the main part of the first movement (Allegro vivace) in a series of cadences. However, the "mischievous" appearance of the main part echoes the sonatas. But the relationship between the main and secondary themes is no longer Haydn's contrast - a languid and even impetuous side part anticipates romantic melodies. A special passion is given to it by syncopations, chromatisms, tremolo sixteenths accompanying the melody, as well as harmony - here a small diminished seventh chord appears. At the time the sonata was being created, it all seemed new. The melodic development of the side part ends at the climax with loud "exclamations" announcing the beginning of the final game. It returns to the atmosphere of carefree fun that reigned in the main party.

The heroic principle is primarily associated with the creative image of Beethoven, and it is also present in the A major sonata. In the development, one of the elements of the main part is transformed, approaching the fanfare intonation. The tremolo sixteenths, which accompanied the side part in the exposition, gives it a special tension - in this way the convergence of the contrasting elements in the exposition gives rise to a fundamentally new image. The strong-willed sound is also acquired by another element of the main part, which in the exposition did not at all give the impression of being active, but now its activity is intensified by its sequential development. Beethoven refracts the traditional classicist technique in a very original way - the dominant organ point before the reprise: here this section of the sonata form is preceded by a lull in dominant harmony. This caesura of form becomes an expression of a passionate desire to return to the original images. The reprise does not bring anything fundamentally new to them, but the calm at the end of the movement creates the impression of incompleteness, which is also very typical of Beethoven's sonata cycles, which become especially integral due to this.

The characteristic features of Beethoven's style are even more clearly presented in the second part - Largo appassionato. Almost "violin" themes in their cantilence are presented most often in the middle register - the most intense, most conducive to "singing" on the keyboard instrument, only in the last performance it moves to a higher register (here the composer seems to entrust it to woodwind with their "light »Timbre). The theme takes on a special emotionality due to the rich texture. This slow movement is dominated by a contemplative mood.

The third movement is in sharp contrast to the slow second movement, where the traditional minuet is replaced by a scherzo - and this is the composer's innovation. The scherzo of the second sonata (Scherzo. Allegretto) still corresponds to the original meaning of this word - "joke": there is indeed a fair amount of humor here. But the scherzo also has a canted beginning - it is concentrated in a trio.

In the finale (Rondo. Grazioso) the composer uses the rondo form. It is dominated by grace and virtuoso brilliance, so beloved by contemporary listeners. However, the chased rhythm, accents and even individual fanfare intonations that penetrate into the finale demonstrate here a typical Beethoven “musical language”: a young composer, creating something that the audience will surely like, nevertheless remains himself and opens up new paths in development genre of sonata. Despite the influence and felt here, Beethoven already asserts himself as a very original composer.

An interesting twist of fate awaited Sonata No. 2 in Russia: in 1910, Alexander Ivanovich Kuprin wrote the story "The Pomegranate Bracelet", in which the second part of the sonata plays a very important role, becoming a kind of posthumous message from the hero to his beloved.

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She almost never doubted for a second that Jenny would play the same passage from the second sonata that this dead man with the funny surname Zheltkov asked for. And so it was. She recognized from the very first chords this exceptional piece, unique in its depth. And her soul seemed to split in two. She thought at the same time that a great love passed by her, which is repeated only one ...

Analysis of Beethoven's Sonata op. 2 No. 2 A-dur (A-major) (essay, term paper, diploma, control)

• Beethoven Sonata op. 2 No. 2 (A Dur) Introduction
• 1. chapter. Biography of L. van Beethoven
• 2. chapter. Beethoven's work
• 3. chapter. Sonata op. 2 No. 2 (A Dur)
• Conclusion
• Appendix 1. Fragments from A. Kuprin's story "Garnet Bracelet"
• Appendix 2. The main dates of the life and work of Beethoven

If you can, forgive me for that. Today I am leaving and will never return, and nothing will remind you of me.

I am infinitely grateful to you only for the fact that you exist. I tested myself - this is not a disease, not a manic idea - this is love that God wanted to reward me for something.

Let me be ridiculous in your eyes and in the eyes of your brother, Nikolai Nikolaevich. As I leave, I am delighted to say: "Hallowed be thy name."

Eight years ago I saw you in the circus in a box, and then in the first second I said to myself: I love her because there is nothing like her in the world, there is nothing better, there is no beast, no plant, no star, not a person more beautiful and tender than you. You seem to have embodied all the beauty of the earth ...

Think about what I needed to do? Run away to another city? All the same, the heart was always near you, at your feet, every moment of the day is filled with you, the thought of you, the dreams of you ... sweet delirium. I am very ashamed and mentally blush for my stupid bracelet - well, what then? - error. I can imagine the impression he made on your guests.

I’ll leave in ten minutes; I’ll only have time to put on a stamp and put the letter in the mailbox so as not to entrust it to anyone else. You will burn this letter. I have just now flooded the stove and am burning all the dearest things that I had in my life: your handkerchief, which, I confess, I stole. You forgot him on a chair at a ball in the Noble Assembly. Your note — oh, how I kissed it — with it you forbade me to write to you. The program of an art exhibition that you once held in your hand and then forgot on the chair when you left ... It's over. I cut everything off, but still I think and even am sure that you will remember me. If you remember me, then ... I know that you are very musical, I saw you most often at Beethoven's quartets, - so, if you remember me, then play or order to play the sonata D major No. 2, op. 2.

I don’t know how to finish the letter. From the depths of my soul I thank you for being my only joy in life, my only consolation, my only thought. May God give you happiness, and let nothing temporary and everyday disturb your beautiful soul. I kiss your hands.

Fragment of the story, after the death of Zheltkov:

“Vera gathered her strength and opened the door. The room smelled of incense and three wax candles were burning. Zheltkov lay on the table obliquely to the room. His head rested very low, as if on purpose he, a corpse who did not care, had been slipped a small soft pillow. There was deep importance in his closed eyes, and his lips smiled blissfully and serenely, as if before parting with his life he had learned some deep and sweet secret that had resolved his entire human life. She remembered that she had seen the same pacified expression on the masks of the great sufferers - Pushkin and Napoleon.

- If you tell me, lady, will I leave? The old woman asked, and there was something extremely intimate in her tone.

“Yes, I'll call you later,” Vera said, and at once took a large red rose out of the small side pocket of her blouse, lifted the head of the corpse a little up with her left hand, and put a flower under his neck with her right hand. At that moment, she realized that the love that every woman dreams of had passed her by. She remembered the words of General Anosov about eternal exclusive love - almost prophetic words. And, parting the hair on the dead man's forehead in both directions, she tightly squeezed his temples with her hands and kissed his cold, wet forehead with a long, friendly kiss.

When she was leaving, the landlady addressed her in a flattering Polish tone:

- Pani, I see that you are not like everyone else, not out of curiosity only. The late Pan Zheltkov told me before his death: "If it happens that I die and some lady comes to look at me, then tell her that Beethoven has the best work ..." - he even wrote it down for me on purpose. Look here ...

“Show me,” Vera Nikolaevna said and suddenly began to cry. “Excuse me, this impression of death is so hard that I can’t resist.

And she read the words in a familiar handwriting:

L. van Beethoven. Son. No. 2, op. 2. Largo Appassionato ".

Fragment of the ending of the story:

“Vera Nikolaevna returned home late in the evening and was glad that she did not find her husband or brother at home.

But the pianist Jenny Reiter was waiting for her, and, excited by what she saw and heard, Vera rushed to her and, kissing her beautiful large hands, shouted:

- Jenny, dear, please, play something for me, - and immediately left the room to the flower garden and sat down on the bench.

She almost never doubted for a second that Jenny would play the same passage from the second sonata that this dead man with the funny surname Zheltkov asked for.

And so it was. She recognized from the very first chords this exceptional piece, unique in its depth. And her soul seemed to split in two. She thought at the same time that a great love passed by her, which is repeated only once in a thousand years. I remembered the words of General Anosov and asked myself why this man forced her to listen to this particular Beethoven work and even against her wishes? And words were composed in her mind. They so coincided in her thoughts with the music that they were like couplets that ended with the words: "Hallowed be thy name."

“Now I will show you in gentle sounds a life that humbly and joyfully doomed itself to torment, suffering and death. I knew no complaint, no reproach, no pain of pride. I am before you - one prayer: "Hallowed be thy name."

Yes, I foresee suffering, blood and death. And I think that it is difficult for the body to part with the soul, but, Beautiful, praise to you, passionate praise and quiet love. "Hallowed be thy name."

I remember your every step, smile, look, the sound of your gait. Sweet sadness, quiet, beautiful sadness is wrapped around my last memories. But I will not hurt you. I leave alone, in silence, it was so pleasing to God and fate. "Hallowed be thy name."

In the sad hour of my death, I pray only to you. Life could be wonderful for me too. Don't grumble, poor heart, don't grumble. In my soul I call for death, but in my heart I am full of praise to you: "Hallowed be thy name."

You, you and the people who surrounded you, you all do not know how beautiful you were. The clock strikes. Time. And, dying, in the mournful hour of parting with life I still sing - glory to you.

Here she comes, all pacifying death, and I say - glory to you! .. "

Princess Vera hugged the trunk of the acacia, clung to it and cried. The tree shook gently. A light wind blew in and, as if sympathizing with her, rustled the leaves. The stars of tobacco smelled sharper ... And at that time the amazing music, as if submitting to her grief, continued:

“Calm down, dear, calm down, calm down. Do you remember me? Do you remember? You are my only and last love. Calm down, I'm with you. Think of me, and I will be with you, because you and I loved each other for only one moment, but forever. Do you remember me? Do you remember? Do you remember? Here I can feel your tears. Take it easy. I sleep so sweet, sweet, sweet. "

Zhenia Reuters left the room, having already finished playing, and saw Princess Vera sitting on a bench all in tears.

- What's the matter? The pianist asked.

Vera, with eyes shining with tears, restlessly, excitedly began to kiss her face, lips, eyes and said:

“No, no,” he has forgiven me now. Things are good".

Appendix 2. The main dates of the life and work of Beethoven.

1782 - Beginning of studies with Nefe. Three clavier sonatas.

1787, spring - a trip to Vienna, meeting with Mozart. Return to Bonn.

1790 - mourning cantata for the death of Joseph P.

1792−1795 - taught by Haydn, Schenk, Albrechtsberger, Salieri.

1799 - Pathetic Sonata.

1801 - "Moonlight Sonata".

1802 - Second Symphony. Heiligenstadt will.

1804 - Heroic Symphony.

1804-1806 - "Appassionata".

1806 - Fourth Symphony.

1806-1807 - Fifth and Sixth Symphonies.

1809, February - an agreement with the Archduke Rudolph and the princes Lobkowitz and Kinsky on the establishment of the annual maintenance.

1812, spring - Seventh Symphony.

1812, summer - meeting with Goethe in Teplice. Letter to the "immortal beloved".

1812 Autumn - Eighth Symphony.

1814 May - presentation of "Fidelio" in the third edition. November 29 - Academy in honor of the Congress of Vienna.

1818 - Twenty-ninth Piano Sonata.

1819-1822 - Solemn Mass. Three last sonatas for piano.

1822 - meeting with Rossini.

1823 - Weber and Liszt visit Beethoven.

1824-1825 - Quartets op. 127, op. 130 and op. 132.

1826 - an attempt by Karl's nephew to commit suicide. Departure to see brother Johann in Gneixsendorf. Return to Vienna, illness. The last two quartets.

Judging by the drafts, Beethoven was distinguished by a special creative method of writing works. Unlike Mozart, whose work appeared at once, in a burst of inspiration, Beethoven's work was born gradually, many themes were reworked many times, the composer was looking for various versions of their sound and various methods of their development.

Famous Mozart's phrase: "He will make everyone talk about himself" (quoted from: Konen, V. D. History of foreign music. Issue 3. - M.: Music.

Koenigsberg, A. Ludwig van Beethoven. - Leningrad: Music, 1970.

Over the course of time, Beethoven developed his own style of communication - writing in "conversational notebooks", which are partially preserved and are a unique written monument of the recording of his conversations with contemporaries.

This line will be continued by the composer in Sonata No. 21, Aurora.

According to espressivo.

For more details see: Appendix 1.

The letter mentions Beethoven's Sonata No. 2, it is a musical symbol of the hero's love.

Cit. Quoted from: Kuprin, A. Garnet bracelet. - M .: Children's literature, 2007.S. 21−22.

Cit. Quoted from: Kuprin, A. Garnet bracelet. - M .: Children's literature, 2007.S. 26−27.

Cit. Quoted from: Kuprin, A. Garnet bracelet. - M .: Children's literature, 2007.S. 29−31.

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Bibliography

1. Alshwang, A. Ludwig van Beethoven... Essays on life and creativity. M .: Music, 1966.
2. Galatskaya, V. Musical foreign countries... - M.: Music, 1989.
3. Grigorovich, V. B. V . A. Mozart and J. Haydn // Great Musicians of Western Europe. - M .: Education, 1982.
4. Zasimova, A. How to perform Beethoven... - M .: Classic XXI, 2008.
5. Koenigsberg, A. Ludwig van Beethoven... - Leningrad: Music, 1970.
6. Kirillina, L.V. Beethoven. Life and work: in 2 volumes - Moscow: Publishing house of the Moscow Conservatory, 2009.
7. Klimovitsky, A.I. About Beethoven's creative process... Moscow: Music, 1979.
8. Konen, V.D. History of foreign music... Issue 3. - M.: Muzyka. 1972.
9. Korganov, V. D. Beethoven. Biographical sketch. - M .: Algorithm, 1997.
10. Kremlin, Yu. Beethoven's Piano Sonatas... - M .: Soviet composer, 1970.
11. Kremnev, B. Beethoven / Life of Remarkable People. Issue XII. M .: Music, 1961.
12. Kuprin, A. Garnet bracelet... - M .: Children's, 2007.
13. Levik, B.V., Nikolaeva, N.S., Gruber, R.I.Music of the French Revolution of the 18th century. Beethoven. - M .: Music, 1967.
14. Livanova, G. History of Western European music before 1789... - M .: Music, 1982.
15. Maksimov, E. I. The piano work of Ludwig Beethoven in the context of musical criticism and performing tendencies of the late 18th - first third of the 19th century: dis. ... Cand. art history: 17.00.02. - M., 2003.315 p.

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