Music analysis. Analysis of the finale of the First Sonata L

(1906-1989)

<Сонатная форма в фортепьянных сонатах Бетховена>

*‎ *‎ *

1. In all 32 cycles the first parts are sonata forms except five - 12., 13., 14., 22. and 28.- cycles. It must, however, be added that the 28. cycle is a special case that requires special consideration.

2. From the last parts clean sonata forms are the last movements 5., 14., 17., 22., 23., 26, 28. cycle (i.e. seven). (True, I do not yet know what the last parts of the 29th and 31st cycles are.)

It follows from all the preceding that the cycles in which and first and last parts are sonata- this is 5., 17., 23., 26.

N.B. A special case is last movement of the 1st sonatas, in which, in a real sonata exposition, the development is replaced - as in a grand rondo - with a tri-shaped second secondary theme.

3. Sonata forms in the middle parts cycles occur in: 3. (second part), 5. (second part), 11. (second part), 17. (second part), 18. [second part of Scherzo (!)], 29. (third part) and 30. cycle [ second part (?)], that is, also in seven cycles.

However, the sonata forms of the middle parts [which are at the cycle level him (relatively) loose parts] differ, as a rule, with "flaws": the second part of the 5. Sonata cycle without development; in the second part 11. - the side theme is the final installment; in the 18th cycle Scherzo (second movement) is also distinguished by ratios that are unusual for a sonata exposition; in the third part 29. of the cycle, the significance of the side theme is surrendered by it to the binder, it also turns out to be the final part; the second part of the 30. cycle is devoid of the cadence that would separate the exposition from the development.

[As for the second part of the 3rd cycle, it is necessary to speak about it separately.]

It turns out that in

*‎ *‎ *

Beethoven's 32 piano sonatas are divided into four-part (13 sonatas), three-part (13 sonatas), two-part (6 sonatas). But if I may say so, quantity parts of the sonata do not always coincide with their number... There can be three parts in a sonata, but one of them will combine the functions of two parts, so that in the end this cycle still includes four parts, of which one exists, so to speak, underwater, - on the shelf of one of the other three parts. On the contrary, it may happen that out of the four parts of the cycle, one or two of them, “absolutely” loosely constructed, cannot claim to exist independently and give themselves out as referring to some other part of the cycle or to the cycle as a whole. So the above division into 13 + 13 + 6 does not turn out to be real from any point of view.

Let's start with four-part cycles. The first four sonatas (1. f, F, f, f; 2. A, D, A, A; 3. C, E, C, C; 4. Es, C, Es, Es) are four-part without any doubt. In them, each of the four parts is independent, although it occupies more or less in the cycle, that is, an unequal, prominent place. The same can be said about 7. (D, d, D, D), 11. (B, Es, B, B) and even 12 sonata (As, As, as, As), despite the fact that that here for the first time in a four-part sonata (in three-part sonatas this happened a long time ago), the relationship between the parts in the cycle complicated: Sonata 12 lacks the sonata form! In the next 13th sonata (Es, c, As, Es), where the sonata form is also absent (except for the ghostly sonata features found in the third, most loose movement of this cycle), the complex relationships of the parts are programmed by the fact that these parts belong to the sonata “Quasi una fantasia”. 15. Sonata (D, d, D, D) is again characterized by the usual equilibrium of the four-part sonata, in which only an analysis of its infrastructure reveals phenomena that are rather unusual in their meaning. Literally the same can be said about the 18 sonatas (Es, As, Es, Es). 28. sonata (A, F, a, A), although its last movement is a sonata form, is similar in essence to 13 sonata. 29. The sonata (B, B, fis, B) can certainly be ranked among the "main" four-part Beethoven sonatas (this is its paradoxical nature). 31. sonata (As, f, as [!], As) occupies an intermediate position between “ordinary” (“normal”) sonatas and sonatas like 13. or 28. As you can see, the overwhelming majority of four-part sonatas pose creative (structural) problems, the solution of which was realized without encroaching on the foundations characteristic of the four-part sonata. Beethoven's Three-Part Piano Sonata is an a priori attack on the usual appearance of the four-part.

But before turning to the three-part cycles, let us go through one more time in front of the four-part sonatas. What are the internal relations of the fourfoldness in them?

1.sonata is not quite indicative of a normal quadruple. It consists of a sonata form, a small rondo, a scherzo-shaped part and a hybrid of a sonata form and a large rondo. But this is not the usual type of hybrid in which the second side theme is replaced by development and which can be called a rondo sonata. It would be more correct to call the hybrid, which is the fourth movement of the 1st sonata, not a rondo sonata, but a rondo sonata. Here is the sonata form, in which development is replaced by a second secondary theme.

2.sonata is the normal type of a four-part sonata. Its first three movements are the same as in the 1st sonata. The fourth part is a large rondo. 2.the sonata is indeed a normal type, benchmark four-part sonata, but it is, perhaps (our review will show whether this is so or not), the only normal- in this sense - a four-part sonata by Beethoven.

3.sonata coincides in the form of its parts with the 2nd sonata, but with the exception of the second part, which is a sonata. Thus, the four movements of this sonata: the sonata, sonata, scherzo, large rondo.

4.sonata completely coincides in the form of its parts with the 2nd sonata. The internal structure of its parts (especially the second and third, but also the first) is very different from what happens in the same forms in the second sonata.

7.sonata, as well as 4., completely coincides in the form of its parts with the 2. sonata, again with very large differences in the internal structure of the parts.

11.sonata coincides in this respect with 3.sonata... Its parts are a sonata, a sonata, a scherzo-like part and a large rondo, and it goes without saying that the internal structure is highly autonomous in comparison with what happens in the 3rd sonata.

12.sonata devoid of sonata form. The first movement is a theme with variations, followed by two schertz-shaped parts and a large rondo.

13.sonata also devoid of sonata form. It consists of two more or less loose schertz-shaped parts, a very loose slow part, which has some features of sonata, and a large rondo.

15.sonata consists of a sonata form, two scherziform parts and a large rondo.

18. sonata. The first and last movements are sonatas, the third movement is scherziform. The second movement, "Scherzo", is essentially also a sonata form. To what extent is this conglomeration of sonatas in one cycle connected with the fact that the first movement begins with degree II?

< I половина 70 гг. >

This sonata, published (under the name of the Grand Sonata) in 1797, was dedicated to Beethoven's young student Countess Babette Keglevich and, according to K. Cerny, was named Die Verliebte after its publication. ...

The composing of the sonata coincided with a bright, cheerful period in Beethoven's life. Lenz believed that this work was “already a thousand miles from the first three sonatas. The lion is shaking the rungs of the cage here, where the ruthless school still keeps him locked up! " Lenz's formulations are somewhat exaggerated, but Beethoven's major further steps towards originality in this sonata are beyond doubt.

First part(Allegro molto e con brio, Es-dur) did not find particularly zealous admirers. However, one should not underestimate its positive qualities. There is no thrilling contrast here, as in the first movement of the third sonata. The soft lyrical beginning is almost absent. But heroic fanfare that transcends the tradition of hunting horns is widespread. Beethoven also finds new expressive moments - first of all, the following strong effect of chiaroscuro:

 full of vivid drama and reminiscent of the images of a heroic symphony. (This effect is so powerful and expressive that Beethoven wisely avoids repeating it in a reprise.)

Among the early works of Beethoven, the first movement of the sonata, op. 7 stands out as an example of the richness of the thematic composition and the vastness of the form. There is a progressive, innovative desire of the composer to monumentalize the form, to increase its scale and, at the same time, to saturate this form with the power of content. But so far, in the early sonatas, Beethoven has not yet managed to achieve that genuine monumentalism, to which he comes later. There is also a well-known contradiction, an inconsistency between the breadth of forms and the abundance of particulars, between the scope of the idea and the traditional shallowness of melos. This contradiction is especially noticeable in this movement thanks to the detailing of the rhythm chosen by the composer, almost entirely based on the fast, winding pace of eighths and sixteenths. The appearance of a side batch in the code is perceived as a kind of luxury. But the ability to extract from the simplest rhythmic relationships diverse expressive possibilities, as always with Beethoven, is amazing.

I would like to especially note the expressive episode of the final game. After a fanfare of broken octaves, a burst of chromatic scale and two bars of descending eighths with mordents (vols. 101-110), the melody of the middle voice, accompanied by arpeggios of the right hand, sounds alarmingly at the organ point of the tonic in B flat major:

This is a moment of doubt, hesitation, mental weakness - moods that are poorly developed in this sonata, in contrast to a number of others. Beethoven hastens to deal with the brief lyrical digression and sweeps it aside with loud fanfare syncopations of the last bars of the exposition. In the reprise, however, this episode is completely pushed aside by an extensive coda.

ABOUT second part sonatas (Largo, con gran espressione, C major) were written by many. Lenz and Ulybyshev speak enthusiastically about her. The latter, by the way, protests against the remark of the young Balakirev, who reproached Largo for lack of originality, for Mozart's influences. A. Rubinstein admires the end of Largo (with its chromatic basses), which "is worth a whole sonata."

Romain Rolland finds in Largo "a big, serious melody of strong drawing, without secular cloying, without ambiguity of feelings, frank and healthy: this is Beethoven's meditation, which, concealing nothing in itself, is available to everyone."

In the words of Romain Rolland - a grain of truth. Largo of the fourth sonata has a specifically strict simplicity, a sublime civic spirit of his images, so intimate with the mass music of the French Revolution. The opening chords, separated by “speaking” pauses, are majestically solemn. As soon as a hint of lyrical tenderness appears, it immediately disappears into an important severity. Such “moments as in vols. 20-21, where loud, abrupt bass chords are suddenly heard after the pianissimo; or in v. 25, etc., where with the transition to As-dur the procession seems to unfold; or in vols. 37-38 with their comparison of extreme registers and sonorities (like a tutti and a flute): (This is an early example of Beethoven's favorite long spacing in piano texture.)

All such and similar moments create the impression of space, open air, large moving masses, despite the intimacy of the piano means of expression. Namely, in terms of a rich, massive interpretation of the piano, Beethoven appears here as an innovator.

Compared to Beethoven's later Adagio, there is no smooth, melodic fluidity of the melody. But this absence is compensated for by an enormous rhythmic wealth. And the pauses and interruptions of movement, in the end, contribute to the versatility, picturesqueness of the image.

It is also necessary to note the altered tertz ratio of the key of this part (C-major) to the key of the first part of the sonata (Es-major). As in the previous sonata (the first movement in C major, the second - in E major), Beethoven originally uses altered mediants of the tonal plane, rare among his predecessors and subsequently beloved by romantics.

 The third part is, in essence, a scherzo (Allegro, Es-dur). It is interesting to compare the attitude towards this part of two connoisseurs of different eras. Lenz defines the first part of the scherzo as a pastoral painting ("the funniest company that ever gathered on the lake shore, on a green lawn, in the shade of old trees, to the sound of a village pipe"); the contrast of the trio in minor key seems inappropriate to Lenz. On the contrary, this sharp contrast rather admires A. Rubinstein.

We think that in this part we must see both the courage, the initiative of Beethoven's contrasting plan, and the so far known mechanicalness of its implementation.

Indeed, the first movement of the scherzo, despite the fleetingly slipping E-flat minor, is sustained in the spirit of old pastorals. Only the extraordinary dynamic variety of rhythm immediately betrays Beethoven.

On the contrary, in the trio there is an obvious leap to Beethoven of the middle, mature period, to powerful, dramatic-choral harmonies of "pathetic", "lunar" and "appassionata". This is a clear sketch of future ideas, not yet developed, somewhat constrained rhythmically and textured, but extremely promising.

As for the end of the trio, its characteristic dreary intonations, plagal turns, thirds and fifths of chords that stand out in the melody already sound completely romantic:

 The emotionally imaginative superiority of the trio over the first movement of the scherzo is so great that the reprise of this movement is no longer able to restore the light bucolic mood.

Only the final sonatas (Rondo, Roso allegretto e grazioso, Es-dur) consolidates our perception in a cheerful E-flat major.

According to Lenz, the gentle, graceful music of the rondo "breathes that faith in feeling, which is the happiness of a young age." Romain Rolland assures that in the finale of the fourth sonata "the feeling is like a child who runs and hugs your knees."

We believe that the last formulation is one-sided - it can only be attributed to the first topic. Along with the graceful and enticing moments, containing many echoes of the gallant style, the rondo also contains stormy impulses of a completely Beethoven C minor! But, of course, the patternedness of polite (somewhat sly) speech prevails, in connection with which the ornament is widely developed, and the drama is given, as it were, in the background.

The characteristic impulses of virtuoso pianistic "eloquence" constitute here the historical link between Mozart and Weber. Moreover, it is perhaps most remarkable for its innovation of the piano texture of the rondo code, where the charming euphony of the quiet rumble of bass arpeggios and the tinkling of grace notes of the right hand foreshadows the pedal coloristic effects of romantics. The images of the rondo are as if carried away into the distance to the sound of poetic bells and freeze.

The concept of the fourth sonata as a whole cannot be called completely monolithic and complete. Too much is felt the fermentation of the still unsteady creative forces, seeking scale, but have not yet mastered the elements brought to life.

In the first part of the heroic, striving to break free of wide forms, it still does not find full-fledged contrasts. In the second part, as a creative revelation, are the stately images of civic emotions. In the third movement, the passionate, deep sadness of the trio suppresses the traditional bucolic echoes. In the last movement, the composer is not so much looking for synthesis as mysteriously, half-mockingly, hushing up everything that has escaped directly from his soul with graceful, polite rondo speeches. They can best be defined as "excuses."

All sheet music quotes are from the edition: Beethoven. Sonatas for Piano. M., Muzgiz, 1946 (edited by F. Lamond), in two volumes. The numbering of measures is also given for this edition.

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 V-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 of 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 diverse 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, only 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 express by its own means the complex and refined content of the ideas and feelings of the 19th century”.

The principles of Beethoven's thinking were most fully and brilliantly crystallized 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. Alshwang 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 the 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 tonal 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 SSC 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 a 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 swift 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 "sonic": - 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 is in A flat major, the second is 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 a certain 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 conflict, as mentioned above, a dynamic conflict (the first theme is a juxtaposition of p and, the second - p)

The contrast of strokes is also important for figurative comparison. 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 part, a structural contrast is formed. The tonality of the minor dominant (c minor) chosen for her - which is, in general, typical of classical sonata forms - forms the most important feature of the sonata form exposure - tonal contrast. With the introduction of the side part, a thematic and imaginative contrast with the main part appears. 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 one).

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 song. 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.

A side batch leads to a vibrant 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 (quiet and gentle all the time).

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 song ornamented phrase.

The second theme contrasts with the first only thematically. Throughout the episode, the lyrical, song 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 of a dramatic 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 are 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 result, 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.

Side part of the reprise 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 bright 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 sound 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. Moscow: 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

Analysis of L.V. Beethoven's Sonata - Op. 2 No. 1 (in F minor)

Kazimova Olga Alexandrovna,

Concertmaster, MBU DO "Chernushinskaya Children's Music School"

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 diverse 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. In the early works of the composer, researchers often find elements of imitation of Haydn and Mozart. However, it cannot be denied that in the first piano sonatas of Ludwig van Beethoven there is originality and originality, which then acquired that unique look that allowed his works to withstand the most severe test - the test of time. Even for Haydn and Mozart, the genre of the piano sonata did not mean so much and did not turn into either a creative laboratory or a kind of diary of intimate impressions and experiences. The uniqueness of Beethoven's sonatas is partly due to the fact that, trying to equate this formerly chamber genre with a symphony, concert and even musical drama, the composer almost never performed them in open concerts. Piano sonatas remained for him a deeply personal genre, addressed not to abstract humanity, but to an imaginary circle of friends and associates.

Ludwig van BEETHOVEN - German composer, representative of the Viennese classical school. Created a heroic-dramatic type of symphonism (3rd "Heroic", 1804, 5th, 1808, 9th, 1823, symphonies; opera "Fidelio", final version 1814; overtures "Coriolanus", 1807, "Egmont", 1810; a number of instrumental ensembles, sonatas, concerts). The complete deafness that befell Beethoven in the middle of his career did not break his will. Later works are philosophical in nature. 9 symphonies, 5 concertos for piano and orchestra; 16 string quartets and other ensembles; instrumental sonatas, including 32 for piano, (among them the so-called "Pathetic", 1798, "Moonlight", 1801, "Appassionata", 1805), 10 for violin and piano; Solemn Mass (1823). Beethoven never thought of his 32 piano sonatas as a single cycle. However, in our perception, their inner integrity is undeniable. The first group of sonatas (nos. 1-11), created between 1793 and 1800, is extremely heterogeneous. The leaders here are the “big sonatas” (as the composer himself called them), which are not inferior in size to symphonies, and in difficulty surpass almost everything written then for the piano. These are the four-part cycles opus 2 (No. 1-3), opus 7 (No. 4), opus 10 No. 3 (No. 7), opus 22 (No. 11). Beethoven, who won the laurels of Vienna's best pianist in the 1790s, declared himself as the only worthy heir to the deceased Mozart and the aging Haydn. Hence - the boldly polemical and at the same time life-affirming spirit of most of the early sonatas, whose courageous virtuosity clearly went beyond the capabilities of the then Viennese pianos with their clear, but not strong sound. In Beethoven's early sonatas, the depth and penetration of the slow movements are also amazing.

The variety of artistic ideas characteristic of Beethoven's piano work was directly reflected in the peculiarities of the sonata form.

Any Beethoven sonata is an independent problem for the theorist analyzing the structure of musical works. All of them differ from each other and in varying degrees of saturation with thematic material, its diversity or unity, a greater or lesser degree of laconicism or spaciousness in the presentation of topics, their completeness or development, poise or dynamism. In different sonatas, Beethoven emphasizes different internal sections. The construction of the cycle and its dramatic logic are also changing. The methods of development are also infinitely varied: altered repetitions, and motivational development, and tonal development, and ostinate movement, and polyphonization, and roundness. Sometimes Beethoven deviates from traditional tonal relationships. And always the sonate cycle (as is generally characteristic of Beethoven) turns out to be an integral organism, in which all parts and themes are united by deep, often hidden from the superficial hearing, internal connections.

The enrichment of the sonata form, inherited by Beethoven in its main contours from Haydn and Mozart, was reflected, first of all, in strengthening the role of the main theme as a stimulus for movement. Beethoven often concentrated this stimulus in the initial phrase or even in the initial motive of the theme. Constantly improving his method of developing a theme, Beethoven came to a type of presentation in which the transformations of the primary motive constitute a long-drawn-out continuous line.

For Beethoven, the piano sonata was the most direct form of expression of his thoughts and feelings, his main artistic aspirations. His attraction to the genre was particularly enduring. While symphonies appeared in his works as a result and generalization of a long period of searches, the piano sonata directly reflected all the variety of creative searches.

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 express by its own means the complex and refined content of the ideas and feelings of the 19th century”.

It was in the field of piano music that Beethoven first and most decisively established his creative individuality, overcame the lines of dependence on the clavier style of the 18th century. The piano sonata was so ahead of the development of other genres of Beethoven that the usual conventional scheme of the periodization of Beethoven's work is essentially inapplicable to it.

The themes characteristic of Beethoven, the manner in which they are presented and developed, the dramatized interpretation of the sonata scheme, a new replica, new timbre effects, etc. first appeared in piano music. In the early Beethoven sonatas, dramatic "themes-dialogues" are encountered, and recitative declamation, and "themes-exclamations", and progressive chord themes, and the combination of harmonic functions at the moment of the highest dramatic tension, and consistent motivational-rhythmic compression, as a means of strengthening the inner tension, and a free varied rhythm, fundamentally different from the dimensional dance periodicity of the music of the 18th century.

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. Each sonata has its own individualized interpretation of the form. The first four sonatas are in four parts, but then Beethoven returns to the three-part form typical for him. In his interpretation of the side part of the sonata allegro and its relationship with the main part, Beethoven developed in a new way the principles of the Viennese classical school that had been established before him.

Beethoven creatively mastered a lot of French revolutionary music, to which he treated with great interest. "The mass art of flaming Paris, the music of popular revolutionary enthusiasm found its development in the powerful skill of Beethoven, like no one who heard the invocative intonations of his time," wrote B.V. Asafiev. Despite the variety of Beethoven's early sonatas, innovative heroic-dramatic sonatas are in the foreground. The first in this series was Sonata No. 1.

Already in the 1st sonata (1796) for piano (op. 2 no. 1) he highlighted the principle of contrast between the main and secondary parts as an expression of the unity of opposites. In the first sonata in f minor, Beethoven begins a line of tragic and dramatic works by Beethoven. It clearly shows the features of the "mature" style, although chronologically it is entirely within the framework of the early period. Its first movement and finale are characterized by emotional tension and tragic acuteness. Adagio, carried over from an earlier work, and the minuet are also characterized by traits of a "sensitive" style. In the first and last movements, the novelty of the thematic material attracts attention (melodies built on large chord contours, "exclamations", sharp accents, abrupt sounds). Owing to the intonational similarity of the theme of the main part with one of the most famous Mozart themes, its dynamic character is especially clear (instead of the symmetrical structure of the Mozart theme, Beethoven builds his theme on an ascending movement towards a melodic culmination with a "summing" effect).

The kinship of intonations in contrasting themes (the secondary theme reproduces the same rhythmic scheme as the main one, on the opposite melodic movement), the purposefulness of the development, the sharpness of contrasts - all this already significantly distinguishes the First Sonata from the Viennese clavier style of Beethoven's predecessors. The unusual construction of the cycle, in which the finale plays the role of a dramatic peak, arose, apparently, under the influence of Mozart's symphony in g-moll. In the First Sonata, tragic notes, stubborn struggle, protest are heard. Beethoven will return to these images more than once in his piano sonatas: Fifth (1796-1798), Pathetique, in the finale Lunar, in Seventeenth (1801-1802), in Appassionata. Later they will get a new life outside of piano music (in the Fifth and Ninth Symphonies, in the overtures "Coriolanus" and "Egmont").

The heroic-tragic line, consistently passing through all of Beethoven's piano work, in no way exhausts its figurative content. As already indicated above, Beethoven's sonatas generally cannot be reduced even to several dominant types. Let us mention the lyrical line, represented by a large number of works.

The tireless search for a psychologically justified combination of the two components of development - struggle and unity - is largely due to the expansion of the range of tonalities of side parties, an increase in the role of connecting and final parties, an increase in the scale of developments and the introduction of new lyrical themes into them, the dynamization of reprises, the transfer of the general culmination to the expanded code ... All these techniques are always subordinated to Beethoven's ideological and figurative plan of the work.

Harmony is one of Beethoven's powerful means of musical development. The very understanding of the boundaries of tonality and the sphere of its action appears in Beethoven more vividly and broader than in his predecessors. However, no matter how distant the tunings of the modulations are, the attractive force of the tonic center is never weakened anywhere.

However, the world of Beethoven's music is staggeringly diverse. There are other fundamentally important aspects in his art, outside of which his perception will inevitably be one-sided, narrow and therefore distorted. And above all, this depth and complexity of the intellectual principle inherent in it.

The psychology of a new man, freed from feudal bonds, was revealed in Beethoven not only in the conflict-tragic sense, but also through the sphere of lofty inspirational thought. His hero, possessing indomitable courage and passion, is endowed at the same time with a rich, finely developed intellect. He is not only a fighter, but also a thinker; along with action, he is characterized by a tendency to concentrated reflection. No secular composer before Beethoven had reached such a philosophical depth and scale of thought. Beethoven's glorification of real life in its multifaceted aspects was intertwined with the idea of ​​the cosmic greatness of the universe. Moments of inspired contemplation coexist in his music with heroic and tragic images, illuminating them in a peculiar way. Through the prism of a sublime and deep intellect, life in all its diversity is refracted in Beethoven's music - violent passions and aloof reverie, theatrical dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life ...

Finally, against the background of the creativity of its predecessors, Beethoven's music stands out for that individualization of the image, which is associated with the psychological principle in art.

Not as a representative of an estate, but as a person with his own rich inner world, a man of a new, post-revolutionary society realized himself. It was in this spirit that Beethoven interpreted his hero. He is always significant and unique, every page of his life is an independent spiritual value. Even motives that are related to each other in type acquire such a richness of shades in the transmission of mood in Beethoven's music that each of them is perceived as unique. With an unconditional commonality of ideas that permeate all of his work, with a deep imprint of a powerful creative individuality that lies on all Beethoven's works, each of his opus is an artistic surprise.

Beethoven improvised in various musical forms - rondo, variation, but most often in sonata. It was the sonata form that most closely corresponded to the character of Beethoven's thinking: he thought “sonata”, just as JS Bach, even in his homophonic compositions, often thought in terms of fugue. That is why, among the whole genre variety of Beethoven's piano work (from concerts, fantasies and variations to miniatures), the sonata genre naturally stood out as the most significant. And that is why the characteristic features of the sonata permeate Beethoven's variations and rondo.

Each Beethoven sonata is a new step forward in mastering the expressive resources of the piano, then a very young instrument. Unlike Haydn and Mozart, Beethoven never turned to the harpsichord, recognizing only the piano. He knew his capabilities perfectly, being a perfect pianist.

Beethoven's pianism is the pianism of a new heroic style, ideologically and emotionally saturated to the highest degree. He was the antipode of all secularism and sophistication. He stood out sharply against the background of the virtuoso trend, which was fashionable at that time, represented by the names of Hummel, Welfel, Gelinek, Lipavsky and other Viennese pianists who rivaled Beethoven. Contemporaries compared Beethoven's play with the speech of an orator, with a "wildly foaming volcano." She amazed with unheard-of dynamic pressure and had little regard for external technical perfection.

According to Schindler's recollections, detailed painting was alien to Beethoven's pianism, it was characterized by a large stroke. Beethoven's performing style demanded from the instrument a dense, powerful sound, the fullness of the cantilena, and the deepest penetration.

For Beethoven, the piano sounded for the first time as a whole orchestra, with purely orchestral power (this will be developed by Liszt, A. Rubinstein). Textured versatility, juxtaposition of distant registers, the brightest dynamic contrasts, enormous polyphonic chords, rich pedalization - all these are characteristic techniques of Beethoven's piano style. It is not surprising that his piano sonatas sometimes resemble symphonies for piano, they are clearly cramped within the framework of modern chamber music. Beethoven's creative method is basically the same in both symphonic and piano pieces. (By the way, the symphony of Beethoven's piano style, that is, its approximation to the style of the symphony, makes itself felt from the very first "steps" of the composer in the genre of piano sonata - in Op. 2).

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. Here the finale plays the role of a dramatic peak. The kinship of intonations in contrasting themes (the secondary theme reproduces the same rhythmic scheme as the main one, on the opposite melodic movement), the purposefulness of the development, the sharpness of contrasts - all this already significantly distinguishes the First Sonata from the Viennese clavier style of Beethoven's predecessors. The unusual construction of the cycle, in which the finale plays the role of a dramatic peak, arose, apparently, under the influence of Mozart's symphony in g-moll. In the First Sonata, tragic notes, stubborn struggle, protest are heard. Beethoven will return to these images more than once in his piano sonatas: Fifth (1796-1798), Pathetique, in the finale Lunar, in Seventeenth (1801-1802), in Appassionata. Later they will get a new life outside of piano music (in the Fifth and Ninth Symphonies, in the overtures "Coriolanus" and "Egmont").

A clear awareness of each creative problem, the desire to solve it in his own way were characteristic of Beethoven from the very beginning. He writes piano sonatas in his own way, and none of the thirty-two repeats the other. His fantasy could not always fit into the strict form of a sonata cycle with a certain ratio of the obligatory three parts.

At the initial stage, it will be very appropriate and important to conduct a musicological and musical-theoretical analysis. It is necessary to familiarize the student with the stylistic features of Beethoven's music, work on the drama, the figurative sphere of the work, consider the artistic and expressive means, and study the parts of the form.

L.V. Beethoven was the greatest representative of the Vienna School, was an outstanding virtuoso, his creations can be compared with the art of fresco. The composer attached great importance to the holistic movements of the hand, the use of its strength and weight. For example, an arpeggiated chord on ff should not be shouted out, but played in volume, with the weight of the hand. It should also be noted that the essence of Beethoven's personality and his music is the spirit of struggle, the affirmation of the invincibility of a person's will, his fearlessness and resilience. Struggle is an internal, psychological process, by which the composer contributes to the development of the psychological direction in the art of the 19th century. You can play the main part, ask the student to describe it (anxious, passionate, restless, very active in a rhythmic sense). When working on it, it is very important to find the temperament and the right articulation - the length of non legato quarter notes in the parts of both hands. It is necessary that the student look for where this music is disturbing, passionate, mysterious, the main thing is that he does not play in a straightforward manner. In this work, it is important to remind the student that one of the most important means of dynamizing Beethoven's music is the metro-rhythm, the rhythmic pulsation.

It is very important to familiarize yourself with the form, pay attention to the main themes of the sonata, and identify the individual characteristics of each of them. If the contrast is smoothed out, the sonata form is not perceived. The general character of sonority is associated with quartet - orchestral writing. It is necessary to pay attention to the metro-rhythmic organization of the sonata, which gives clarity to the music. It is important to feel strong beats, especially in syncopations and in off-beat constructions, to feel the gravitation of motives to a strong beat, to monitor the tempo unity of the performance.

Beethoven's compositions are characterized by heroic and dramatic images, great internal dynamics, sharp contrasts, inhibition and accumulation of energy, its breakthrough at the climax, an abundance of syncopation, accents, orchestral sound, exacerbation of internal conflict, aspiration and calming between intonations, more daring use of the pedal.

From all this it is clear that the study of a large form is a long and laborious process, the understanding of which the student cannot master from one lesson. It is also assumed that the student has a good musical and technical base. They also say that you need to find your own flavor, to play like no one has ever done.

The finale of the 1st sonata is written in the form of a sonata allegro with an episode instead of development and developmental elements. 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 bright 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 sound 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, ”wrote Asafiev.

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