Analysis of the structure, drama, musical images of Beethoven's Fourth Sonata. Variations in Beethoven's Piano Sonatas

Number 2, was written by Beethoven in 1796 and is dedicated to Joseph Haydn.
The total playing time is about 22 minutes.

The second part of the Largo appassionato sonata is mentioned in the story by A.I. Kuprin "Garnet Bracelet".

The sonata has four movements:

1. Allegro vivace
2. Largo appassionato
3. Scherzo. Allegretto
4. Rondo. Grazioso

(Wilhelm Kempf)

(Claudio Arrau)

In this sonata, a new, not too long stage in the development of Beethoven's creative nature makes itself felt. Moving to Vienna, secular successes, the growing fame of the virtuoso pianist, numerous, but superficial, transient love interests.

Mental contradictions are obvious. Should you submit to the demands of the public, the world, find the path to their maximum satisfaction, or go your own, difficult, difficult, but heroic way? Of course, the third moment comes - the lively, mobile emotionality of young years, the ability to easily, responsively surrender to everything that attracts with its brilliance and radiance.

Researchers have often been inclined to note the "concessions", the external virtuosity of this and subsequent Beethoven's piano sonatas.

Indeed, there are concessions, they are felt from the very first bars, the light humor of which matches Joseph Haydn. There are a lot of virtuoso figures in the sonata, some of them (for example, jumps, small scale technique, fast iterations of broken octaves) look both into the past and into the future (recalling Scarlatti, Clementi, but also Hummel, Weber)

However, listening intently, we notice that the content of Beethoven's individuality has been preserved, moreover, it is developing, moving forward.

I. Allegro vivace

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is in F major, which contains a third relationship with the key of the work, A major. A difficult, but beautiful canonic section is also to be found in the development. The reprise does not contain codes and the part ends quietly and modestly.

II. Largo appassionato

One of the few instances in which Beethoven uses the tempo marking "Largo", which was the slowest such marking for a movement. The opening imitates the style of a string quartet and features a staccato pizzicato-like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven "s conception of this movement. The key is the subdominant of A major, D major.

III. Scherzo: Allegretto

A short and graceful movement that is in many respects similar to a minuet. This is the first instance in his 32 numbered sonatas in which the term "Scherzo" is used. A minor trio section adds contrast to the cheerful opening material of this movement.

IV. Rondo: Grazioso

A beautiful and lyrical rondo. The arpeggio that opens the repeated material becomes more elaborate at each entrance. Rondo structure: A1-B1-A2-C-A3-B2-A4-Coda. The C section is rather agitated and stormy in comparison to the rest of the work, and is representative of the so called "Sturm und Drang" style. A simple but elegant V7-I closes the entire work in the lower register, played piano.

Beethoven dedicated the three sonatas of Op. 2 to Franz Joseph Haydn, with whom he studied composition during his first two years in Vienna. All three borrow material from Beethoven "s Piano Quartets, WoO 36, Nos. 1 and 3, possibly of 1785. The sonatas were premièred in the fall of 1795 at the home of Prince Carl Lichnowksy, with Haydn in attendance, and were published in March 1796 by Artaria in Vienna.

The sonatas of Op. 2 are very broadly conceived, each with four movements instead of three, creating a format like that of a symphony through the addition of a minuet or scherzo. The second movements are slow and ponderous, typical of this period in Beethoven "s career. Scherzos appear as third movements in Nos. 2 & 3, although they are not any faster than earlier minuets by Haydn. They are, however, longer than their precursors.

Beethoven "s experimentation with tonal material within Classical-era frameworks begins with his earliest published works, as the first movement of the Op. 2, No. 2 sonata clearly demonstrates. After establishing the key of A major through a fragmentary, disjointed theme, Beethoven begins the transition to the dominant. When the second theme arrives, however, it is on the dominant minor (E minor), implying the keys of G major and C major. This implication is realized at the beginning of the development section, which is on C major.In the recapitulation, one would expect the transition to lead to the tonic, but here it suggests, again, C major through its dominant.At the moment the second theme arrives, Beethoven creates a deceptive cadence by moving to A minor, thus resolving the second theme to the tonic.

Sustained chords over a pizzicato-like bass part at the opening of the second movement could have been realized only on the most recent pianos of the time. In this movement, Beethoven borrowed material from the Piano Quartet, WoO 36, No. 3.

Beethoven retains the formal principles of the minuet for his third movement, an Allegretto Scherzo. There are, however, distinctly Beethovenian features, such as the second theme of the Scherzo being only a slight modification of the first theme, as well as the extension of the second section. In a reference to the key relationships of the first movement, Beethoven sets the Trio in A minor.

In the Rondo finale Beethoven applies some sonata-form procedures to the traditional rondo format and flexes his variation muscles. The overall structure is ABACAB "AC" A. Episode B touches on the dominant to such a degree that its return is rewritten to stress the tonic, while episode C is set in A minor, a key which is abandoned in favor of A major on its return.

The biggest difference between this sonata and the three previous ones is its pronounced romantic character. From the very first bars, the triplet texture creates a feeling of anxiety and movement. The side part does not have a strong contrast with the main part, keeping the internal pulsation of the triplets. The polyphonic development of the secondary part is also atypical, which before this sonata had not been encountered in Beethoven's violin sonatas.

It is hard to believe that during such a fruitful period, Beethoven is acutely experiencing rapidly progressive deafness and incessant tinnitus.

The Fourth Sonata is in three movements. In my opinion, the cycle is completely unique for its modest volumes, which is very unusual for Beethoven, and for its concentrated presentation of musical material. The first and third movements of the sonata form a shaped arch. This is one of the few finals of violin sonatas, and indeed finals of that time, written in minor key and continuing the development of the images of the first movement. DF Oistrakh described this sonata as "Little Kreutzer".

The dramatic I movement and the dramatic finale are separated by the major Andante Scherzoso, which musicologists often call "interlude" (in general, the arrangement of the frets is also unusual - more often we come across fast major extreme parts and slow minor II movement).

The fact that the sonata was written in minor is also unusual - at the dawn of the 19th century, a symphony, and even more so the sonatas (which were composed most often for the entertainment of the public) in major - were the norm. So the minor sonata was a rare exception; as a rule, by this the composer wanted to convey to the listener "the exceptional seriousness of this work." This circumstance alone makes us look at the artistic meaning of the sonata cycle in a completely different light. Before Beethoven, the chamber genre was regarded as light music for the relaxation of listeners. Thus, the use of minor keys in chamber music contradicted the very idea of ​​secular concerts, since a minor, more often than not, opens up a sphere of dramatic and very often tragic images for the listener. And the fact that the Fourth Sonata became the first minor of all ten tells us about the "romantic" content of this work.

The first movement is traditionally written in the form of a sonata Allegro. In this case, it is the sonata Presto.

The action unfolds actively from the first bars. The theme sounds in the piano part, its agitated and even nervous character is emphasized by the grace note to the first beat and the rapid pulsation of the arpeggiated tonic chord in the bass (such a continuous and dynamic movement from the first measures of the piece reminds me of the finale of Brahms's Third Violin Sonata d-moll).

Beethoven Sonata No. 4

Brahms. Sonata No. 3, Finale

As BV Asafiev rightly noted, "Perhaps this paradoxical image - tense stability - best of all conveys the basic quality of Beethoven's tonicity."

In my opinion, the theme of the main batch is a big sentence (22112) with an addition (4). I disagree with R.A.Saifullin, who in his work "The Semantics of Music Text and Performance Recommendations" asserts that the theme of the main part is written in a simple three-part form. He sets the boundaries as follows:

(1-12 measures) (13-23 measures) (24-29 measures)

In my opinion, the boundaries of the main party should be designated as:

Big offer Supplement

What Saifullin calls the second part of the main party, in my opinion, is the beginning of a linking party. In turn, I would define its structure as 2 + 2 + 4 + 5:

This type of connecting parts was encountered by composers of the late 18th and early 19th centuries, when the classical sonata form was not yet fully formed and was somewhere between the classical and the baroque. T. Kyureghian called this type of sonata "preclassical sonata form", where the connecting part was a model and its sequenced repetitions with further modulation into the key of the secondary part.

This is by no means the only feature of "antiquity" in this sonata. The boundaries of the exposition-development and reprise-codes are marked with a reprise sign, which is typical for baroque suites and partitas, this method of form was used by Haydn and Mozart. Beethoven used it in Sonata Op.10 No. 2.

The musicologist Lenz calls the form of the first part of the Fourth Sonata - a sonatina, but at the same time he makes it clear that there is no other like this in all musical literature.

The theme of the side part is based on a large sentence in building 2222, it is repeated twice: in the violin part and the piano part. At the same time, the “opposition” does not change either: what the piano sounds in the beginning is transmitted to the violin. This intensifies and deepens the emotional impact on the listener. In general, the use of polyphony in the secondary parts is atypical for Beethoven, and has not previously been found in his violin sonatas.

First conducting the topic Second conducting the topic

The character of the secondary, in comparison with the theme of the main part, is calmer, but the calm is somewhat imaginary, there is no balance, the theme is very fluid, it is all permeated with second intonations.

After performing the theme twice, an addition of 8 bars sounds, also permeated with lamento intonations and imitations. Thus, the side batch scheme looks like this:

The final part "stands" on the tonic organ point, in turn, it also has its own micro-sections, which can be considered as a reduced model of the side part:

In the last section of the final batch in the table, I indicated that there is a decrease in the apparent voltage. But what is important is that a diminished introductory dis-fis-a-c sounds on the tonic organ point of the e-moll, and a feeling of strong tension is created by overlapping each other.

Thus, this miniature exposition fits only 67 measures, but such limited space does not prevent Beethoven from laying a stable rich thematic foundation and giving the first shoots of development. Compared to the exposition, Beethoven gives a real, detailed, "Beethoven" development - 95 bars. It is divided into several sections, which I have identified in accordance with the musical material undergoing development. In the table, I clearly marked the boundaries of the sections and identified the musical-thematic element that Beethoven develops in this section. In the text below the table, I described each of the sections in more detail, and also indicated the initial sections of each of the sections:

The development reproduces the thematic of the exposition clearly in chronology, bypassing only the side game.

In the first section, the first element of the main part is singled out, which Beethoven subjects to tonal and harmonious development. The first six measures in the bass of the piano sounds the already familiar arpeggiated tonic triad, which takes us to the beginning of the exposure with its restless and impetuous character. But in the next 8 bars, a continuation of a bar is added to this motif, which radically changes the character of the sound. Now the violin and piano seem to be throwing a decisive and sharp challenge to each other, this motive sounds like a question-answer for both soloists, which, in turn, becomes a model for sequenced (tonal) development. The first beat (with a grace note) sounds a chord: and only in the first case it is D6 / 5 to d-moll, in the other three cases it is a reduced non-chord on the D bass, which creates a strong sound tension. But tension is created not only in the sound of the harmonic vertical, but also in the horizontal: in this descending line, an enlarged second stands out brightly, which further emphasizes the fracture of the melodic pattern. In addition, this tune sounds unaccompanied, and a large number of pauses in the parts of both instruments "tears" the melodic fabric, finally giving the music a desperately rebellious character.

The melodic horizontal line confidently rushes upward, thereby increasing tension, but the second section interrupts this tendency with the help of several bars of abstract lyrics. This section is the smallest, only 7 bars, and, in my opinion, the lyrics here are imaginary, although there is a characteristic wide melody in the violin and ostinata figuration in the piano part. This section distracts us from the passions and concerns that were outlined at the beginning of development; but just as imperceptibly this calmness came, just as imperceptibly it left us, which is replaced by the third section, where the descending element of the connecting party undergoes tonal, harmonic, melodic and polyphonic development. In general, this element has already been laid in the second section in the major version, in which case these sections can be combined.

The entire third section oscillates between the keys of a-minor and d-minor and is constructed as a dialogue between the soloists, the tension in which grows with each bar.

The fourth section can be titled "background" to the new topic. It completely stands on D a-moll and, as it were, prepares the most important development event - the emergence of a new theme. Here we see echoes of those polyphonic techniques that Beethoven used in the final installment of the exposition.

The emergence of a new topic is truly a significant event in this form. Preface - Section IV could have served as a traditional precursor to the reprise, but Beethoven had not yet finished what he had in mind, so the new topic in development was an excellent vehicle to do this. This theme reminds me of the second theme of the side part in the finale of the Brahms' Third Violin Sonata, which I have already mentioned:

The shape of the new theme can be defined as three 8-bar periods of re-structure, the third of which opens and leads us directly to the reprise, to the reprise tonality of a minor. All 3 periods are based on the same thematic material and are performed in three different keys: a-minor, d-minor, B-dur. Modulations occur by matching. In the latter case, the modulation of B-major - a-minor, gradual: through D there is a deviation in d-minor, from the tonic quartext chord in d-minor, without leaving the bass “a”, Beethoven goes to D of the main key of a-minor.

The outline of the new theme looks like this:

The new theme stops the build-up of dramatic tension in the development, in my opinion, the rudiments of balance appear in it, something that was not there before (I think that Brahms was based on this theme when he wrote the finale of his Third Violin Sonata).

But in the last four bars of the theme, a crescendo emerges, the tension instantly builds up, reminding us of all the development events, which leads us to a dynamized recap.

The reprise lacks the theme of the connecting party. The core of the theme of the main part does not change, the same structure of 22112 remains, but the addition is built according to a different principle: Beethoven isolates the element from the base - the ascending triad (which was previously sounded in the piano part) and with the help of it modulates in C-dur (the key of the side part in the reprise). The modulation process follows in the table below:

The theme of the side game is repeated 2 times, just like in the exposition. But in the exhibition there was an exact repetition of the theme with a permutation of voices. Beethoven retains this polyphonic technique in the reprise, but the first conduction sounds in C major, and the second conduction of the theme, as it should be according to the laws of the reprise, in the main key of a minor.

The theme takes on a lighter sound, for a moment we even think that the sky has cleared up from dramatic collisions, but the addition (8 bars, as in the exposition) brings us back to the real world of wrestling.

The final part is constructed in the same way as in the exposure, the addition increases: 4 + 4 + 10, in which the modulation in d-moll takes place. The reprise ends with the "start of development", but there is no continuation. And the first exclamation of a violin on a motive with a grace note is interrupted, followed by a new theme from the development, which, of course, is a unique feature of the form of this part (although by the position in the form, the new theme is a coda)

The conduction is shortened, instead of 8-bar periods, Beethoven leaves only four bars, after which he modulates into a different key. The theme starts in a-minor, through DD it modulates in a-minor.

This is how the structure of a new theme looks like schematically in the code:

In the second and third lead of the theme, there is a slight vertical permutation of voices within the piano part.

Part I ends with pp, which is also uncharacteristic for Beethoven. Such an ending is, of course, part of the conceptual design. It creates the effect of confusion, unfulfilled hopes, a calm before the further struggle for their happiness.

As we can see, the structure of the first movement of the Fourth Sonata is very atypical for Beethoven, but, on the other hand, we clearly see the master's hand: sophisticated polyphonic techniques, playing of tonalities, various modulations and, of course, very expressive and figurative thematicism.

So, in the first movement, we met a number of non-standard techniques for the classical sonata Allegro. In contrast, Beethoven writes the second movement of the Andante Scherzoso piu Allegretto sonata in the most Viennese classical sonata form, which, in turn, is very unusual for the slow movement of the classical sonata cycle.

The French musicologist Lenz dubbed this part “Spring Song” for a reason, in character it would rather fit the 5th “Spring Sonata”: very simple, naive, light, it is the exact opposite of the first movement.

The theme of the main part is emphatically simple: the chords are functionally and structurally simple, the pauses that permeate the theme are very expressive. They seem to be filled with sounds, they very much resemble the echo of the echo, which they will later become when the violin enters.

The theme of the main party is a simple two-part non-repertoire form, its structure is indicated in the following table:

The connecting part here is the most complete, in contrast to the exposition, it is based on a new theme, and in form it is a Fugato with a tonal response, a restrained opposition and one straight lead. Beethoven develops the makings of polyphonic development in the first part, in the third part they will reach their apogee (Beethoven willingly used polyphonic techniques in genre-descriptive works, often to emphasize the scary character) The process of polyphonic development in Fugato is displayed in the table, the "theme" is denoted by T, "Answer" O, "opposition" P:

The D addition to the E-dur brings us to the theme of the side part, written in the form of an eight-measure period with expansion and addition. To clarify how a typical eight-measure period takes 17 bars, I compiled a “non-squareness table” of the side-part theme, where I displayed all the repetitions, additions and extensions:

The side part has a very bright and recognizable figuration - trill, chirping, which gives even more lightness and naivety to the melody - and next time it will be met only in a reprise.

The final part is a simple two-part, non-repertory form, divided into two parts of different character, in the first of which only a reminder of the events of the first part returns for a moment: subito sf appears, an accentuated strong beat on the violin, but the touch of drama immediately disappears, leaving the dominance of the simple , the unpretentious and melodious main theme of the final part. Thus, the final batch looks like this:

Thus, we see that each theme of the exposition is performed twice, but necessarily begins with a piano solo.

The development is miniature, it fits in only 36 bars, it is not at all "Beethoven's", by no means dramatic, it is built on the development of the themes of the main and connecting party.

The four-bar opening the development is the first four-bar of the theme of the main part: the theme sounds in a parallel fis-moll on the piano against the background of the ostinata dominant on the violin. The theme does not receive development, but flows into the theme of the connecting party, which is undergoing changes in the development.

There is no more opposition from the exposition, instead a two-bar motive appears, actively involved in polyphonic development, Beethoven uses vertical and horizontal permutations, polyphonic interaction is carried out between all three voices. All this takes place against the background of continuous tonal development: fis-minor, G-major, a-minor, h-minor.

In the following bars, the development is based on the initial element of the Fugato theme, I think Beethoven deliberately simplifies it to the imitative development, using as a “counterposition” a second leith-intonation from the theme of the main part.

Meanwhile, the tonal movement continues, this time in pure quarters: h-moll, e-moll, a-moll, d-moll. From d-moll with the help of a diminished seventh chord dis-fis-a-c, Beethoven falls into the dominant of the main key, thereby starting to prepare a reprise. It stands on D for 5 bars, then lets it go, leaving only the second-second leith-intonation of the theme of the main part, which the two soloists echo, after which we find ourselves in a reprise.

So, within this small development there are no such obvious boundaries as in the development of the first part, but for convenience, several sections can be distinguished here too:

In the reprise, changes in the main part are obvious from the very first bars. In the violin part, a scary sixteenth-note tune is added to accompany the cadenzas. It gives a playful character to the music.

The trill in the piano part, sounding against the background of the second leith-intonations of the theme of the main part, gives a pastoral sound.

The second part of the theme of the main part is now accompanied by small-second echoes on spiccato on the violin, on a light staccato on the piano, which emphasizes the scary nature of the theme.

The theme of the main part is transformed, overgrown with echoes and embellishments, but the main structure of the theme does not change.

On the other hand, the appearance of the connecting part changes somewhat: firstly, the violin has a theme first, but further on in the violin part the theme no longer appears, passing into the lower voices of the piano part. The theme is devoid of such polyphonic delights that we saw in the connecting part of the exposition. There are only 2 complete conductions of the theme, this is how this simplified scheme of polyphonic techniques looks like in the theme of the connecting part in the reprise:

The themes of the side and final parts do not undergo any harmonic and structural changes, only, according to the rules of the classical sonata form, they are transferred to the main key - in this case, in A-dur.

We see how strong and important for Beethoven is the concept and ideological concept of this sonata, for the embodiment of which the creation of such a contrasting image in the second movement was simply necessary: ​​if you look even more closely at Andante Scherzoso, then we will not find consonances here, more complicated than the usual seventh chord, The cadances here are emphatically transparent and clear, the pauses in the themes give them exquisite simplicity and grace.

Part II serves as an interlude, a "rest" between the dramatic Part I and the rebellious finale, which will now be discussed.

The finale is traditionally written in the form of a Rondo Sonata. The structure of this part is complex, therefore, for convenience, I will immediately present a table-diagram of the part:

In my opinion, in the Rondo refrain, 1 metric bar is equal to two graphic bars, this is also prompted by the size of the part - Alla brave. But in some episodes, 1 metric so is equal to 1 graphic, so in order to avoid confusion, I will count graphic ticks (the table also shows the calculation of graphic ticks).

The refrain is a very expressive theme, it combines contradictory features: epic-narrative, lyrical, with a touch of dramatic anxiety and bustle. The theme in the first sentence is conducted at the piano, its voices first move in the opposite direction, then strictly in parallel - this clear convention also creates a certain sonority effect. And against the background of the theme, the D pedal of the violin sounds - all this in combination conveys an extraordinary state of excitement and at the same time detachment:

When the theme enters the violin, small figurations appear in the middle voice in the accompaniment, supported by a laconic bass - this subconsciously speeds up the movement, although the tempo remains the same.

In addition, there is an amplification and expansion of dynamic space due to crescendo and octave doublings. The refrain ends with f, which creates a brighter contrast to the subsequent first episode at p.

I think it is impossible to clearly define the shape of the first episode. It uses the structure that composers usually use in development and other parts where any development of musical material takes place. But this does not mean at all that the episode is devoid of a bright, distinctive theme or motive, especially since the theme of the first episode is also the theme of the side game of the finale. In the following notation example, only the beginning of the theme is displayed:

The crown of the first episode is a diminished seventh chord, which brings a fresh harmonic stream in comparison with the diatonic refrain.

Also expressive is the new texture, which Beethoven introduces here for the first time - these are wide diverging waves-melodies of the piano and violin part, which push the boundaries of the sound space, and also carry out tonal movement: h-moll, a-moll, e-moll. Below is just one of the links:

Numerous inter-bar syncopations also add their own flavor to the sound:

But the most striking bars in this episode, one might say, in this sonata are - the bars of a heartfelt and laconic recitative, which takes place in both parts, which also refers us to the famous recitative of the piano sonata, Op.31 No. 2:

This expressive recitative serves as a transition to the refrain. Refrains in this section follow unchanged.

The second episode is the smallest of all, it refers us to the mood of the second part, it has features of light toccata.

In my opinion, in form, this is a large sixteen-cycle period with expansion. But this judgment is controversial: there is no middle cadence in D, which is usually a distinctive feature of the period. Here we find 3 cadences modulating in h-minor, d-moll and a-moll. Moreover, modulation into the main key occurs in an interesting way: Beethoven begins the cadence turn as a traditional one. He takes the tonic, S with a sixth, followed by an altered S, which is already implied as D to a minor, and not an altered S to d minor:

S with sixth Salt. = Da-moll

The third central episode is of the greatest interest. Looking at the notes, one involuntarily recalls medieval chorales and chants, which later romantic composers used as themes for variations:

Beethoven also wrote this episode as a variation on the theme presented in the musical example above. The structure of the episode is quite transparent, but since the episode is large-scale, for convenience we will draw up a scheme of variations, which reflects the texture and type of each group of variations:

In the episode, which I designated as the fourth, there is a reminiscence of all three preceding episodes. This piece of form serves as a reprise of the part.

The side part-theme of the first episode, as it should be, has been transferred to the main key of a-minor.

The theme of the second episode has been reduced to a sentence, at this location in the form it resembles a modulating move in B-dur, which leads us to the theme of the third episode.

Beethoven gives the opportunity for the variational development of this theme, but literally immediately modulates in the main a-minor and strives for completion, that is, for the final carrying out of the refrain. Here's what it looks like in sheet music:

The last conduct of the refrain is dynamized; it does not differ from the previous ones in structure and harmony. But Beethoven initially changes the direction of the melody, thereby emphasizing the importance of the LAST performance of the refrain - the completion of the part and the entire sonata:

The tension builds up again, but is already ready for its logical conclusion. The last 9 measures of the sonata in the violin and piano parts sound confident arpeggiated triads going symmetrically in opposite directions, eventually reaching the last tonic consonance together:

STRUCTURAL ANALYSIS OF L. BEETHOVEN'S TWENTY PIANO SONATA

Beethoven's Twentieth Piano Sonata (op. 49Nr... 2), which has become the subject of our analysis, is one of the bright, sunny pages of the music of the great German master. It is notable for its relative ease of perception, but at the same time it contains bold decisions in the field of form, the most interesting composer finds.

Sonata No. 20 is distinguished by a small length of parts, a very small development in the sonataallegrothe first part, the "lightness" of the texture, the general joyful and elated mood. Usually all of the above features are attributes of "sonatinity". But the scale, the significance of the music we are examining, its aesthetic depth indicate the "serious" origin of the sonata.

L. Beethoven is a genius innovator, a real revolutionary in the field of musical form. The number of parts in a sonata cycle and their ratio, the sequence of the composer often varies depending on the artistic task. So, in the twentieth piano sonata there are only two parts - the sonataAllegroand Minuet.

In this work, L. Beethoven limits his composer's thinking to a rather stingy, economical use of musical expressive means, which formally fully fit into the framework of classicism. There are no bright thematic, dynamic, tempo and register contrasts characteristic of Beethoven's style (as, for example, in "Aurora"). But there are elements of theatricality, in the sonataallegro- intonations of "fanfare" and "sighs".

Nevertheless, in the perfection of the architectonics of the sonata form, in the virtuoso ability to develop, compare and produce one of the other themes, the creative style of L. Beethoven is guessed.

The tonality of both parts isG- dur, the character is cheerful. The intonation connections between the parts are found. Let's point out some of them:

Moves according to the sounds of the triad (the beginning of the G.p. of the first movement, the cadence zones of the proposals of the first period of the Minuet, its trio);

Chromatic movement (second section of St. n. Of the first movement, the final cadence of the first period of the Minuet);

Gamma-like movement (Z. of the first movement of the sonataallegro, an episode of the first part of the complex three-part form (serving as the first part of the complex three-part form (!) of the Minuet).

Let us dwell in more detail on each of the parts of the Twentieth Piano Sonata.

First part (Allegromanontroppo) is written in sonata form (see Appendix No. 1), where the development has a very short length. Only the exposition is marked by reprisal repetition. Note that L. Beethoven already in the early sonatas "canceled" the repetition of the development and reprise.

The exposition takes 52 measures. In it, the places of "increased semantic tension" (in G. p., P. p.) Are interspersed with general forms of movement (in St. p., Z. P.). Joyful emotions dominate in various gradations: vigorous, decisive, affirming, as well as gentle and affectionate.

G. p. occupies the first sentence of the exposition period (1-4 vols.). One could erroneously assume that G. p. has the form of a period ("classical" type) and ends in bar 8, followed by St. But, first of all, the cadence of the second sentence is too much "fused" with the subsequent musical material. And secondly, in the first period of the reprise of the sonata form, in the final cadence, modulation into a subdominant is performed. And modulation is a sign of St.Petersburg, and by no means a G.P., the tonal-harmonic function of which is to show the main tonality, to consolidate it.

So, G. p. polymotive. Active intonations of the first phrase (melodic move after the tonic chord onforte ) are opposed by soft melodious phrases in two voices. The singing phrases of the upper voice have an ascending direction followed by "rounding" interspersed with melismatics. The lower spine contains "warm" harmonic support. For a moment, there is a deviation into the subdominant in order to set off the main tonality.

In St. p. three sections. The first section (5-8 vols.) Is built on the varied material of the G.p., set out an octave above. In the lower voice, a movement of eighth durations appears (on a weak eighth, the fifth step is repeated for two measures).

The second section of St. (9-15 vols.) Is given on the basis of new material. Graceful chromatisms (auxiliary and passing tones) appear in it. The sequential downward movement of phrases with "female" endings is replaced by a gamma-like sequence of sounds.

Harmonious development leads toD-> D, after which the third section of St. (15-20). Its purpose is to "prepare the ground" for the item, to bring the dominant to the tonality. The third section of St. is given on the organ point that is dominant (in relation to the main key of the sonata) (the lower tone of the figurations in the triplet rhythm in the left hand). In the right hand, playful motifs based on chord sounds (authentic turns). There is a feeling of some kind of game.

After stopping at the dominant (in relation to the main key), P. (D- dur, 21-36 vols.). Form P. p. - a double period of two complex sentences of repeated structure (square, one-tone). In the motives of her first phrases, the derivation from the second element of G. p. - second intonationslamentoonpiano , the predominance of an upward movement. Accompanied by an analogy with the movement of the eighth durations in the first section of St. Further in P. p. there are two graceful phrases in high register, followed by thirds "squats" in the accompaniment. In the half cadence, the second “sighs” interrupted by pauses (rhythmic similarity to the “female” endings in the phrases of the second section of St. P. In the final cadence, this phrase is given in a varied manner - in even movement in eighth durations.

Z. p. (36-52 vols.) Begins with an invading cadence. It can be divided into two sections. The first section of Z. (36-49) is built on cadence in the key of the dominant. In the triplet rhythm, the scale-like sequences "scatter" in octaves, stopping at rehearsals of one tone, accompanied by figurations in the left hand.

The second section of Z. on the organ point, the tonality of the dominant is fixed. Musical material is similar to section 3 of St.

The development (53-66 vols.) Introduces into the minor sphere (the effect of chiaroscuro). Consists of two sections. In the first section (vols. 53-59), elements of the gross production are developed. (tonal transposition, variation). Development begins with the tonic of the same-named tonality (in relation to the tonality in which the exposition ended;d- moll). In the process of harmonious development,a- mollande- moll... That is, in the tonal plan of the first section of the development, a certain logic can be traced (along the quarter-fifth circle).

The second section of the development (60-66 vols.) - the prediction - is given in a parallel key (in relation to the main key of the sonata;e- moll). Intonationlamentoin the upper register, interrupted by pauses, they are sequenced, accompanied by pulsation of eighth durations at the dominant organ point. At the end of the development, the dominant of the main tonality appears, the downward movement of the eighth notes "crashes" into the reprise.

G. p. (67-70 vols.) In the reprise (67-122 vols.) Passes unchanged.

At the end of the first section of St. (71-75 vols.) Modulation is performed in the key of the subdominant.

The second section of St. (71-82 vols.) Completely revised. In terms of material, it is similar (in its first four measures even identical, taking into account the tonal transposition) to the first section of the Z.p. At the end of it, there is a deviation into the tonality of the sixth degree.

The third section of St. (82-87 vols.) Does not contain changes, not even transposition! This is an interesting decision of L. Beethoven - to build the third section of St. in such a way that it is suitable both for further establishing the dominant sphere, and for remaining in the basic key.

The secondary part in the reprise (88-103 vols.) Sounds unchanged (apart from the tonal transposition).

The first section of Z. (103-116 vols.) Contains a slight variation during the deviation inVIstep.

The second section of Z. (116-122 vols.) Expanded due to additional sequencing. The goal is the final affirmation of the main tonalityG- dur.

At the end of the reprise, two abrupt chords (D 7 - T).

The second movement of the twentieth piano sonata - Minuet (TempodiMenuetto, G- dur). L. Beethoven retains the typical features of this dance, but brings poetry and lyricism to it. Dancing is combined in the minuet with a subtle melodious melody.

The form of the second movement of the sonata is a complex three-part (see Appendix No. 2). The first part of this complex three-part form is also a complex three-part, the reprise is shortened - its form is a simple three-part. There is a code.

The first part of a complex three-part form (exposition, 1-68 vols.), Which itself is also the first part of a complex three-part form, is written in a simple three-part form (1-20 vols.). Its first part (1-8 vols.) Is a one-tone square period of two sentences of repeated construction. The melodic line of the period is very graceful, contains a dotted rhythm (like squats), the scale-thematic structure of both sentences is summation. The theme is predominantly diatonic, only in the final cadet appears "flirtatious"IV. In the accompaniment, pulsation of eighth durations over chord sounds.

The second part of a simple three-part form (9-12 volumes) develops the thematic elements of the first part. AffectedIVandIIIsteps.

After a half cadence, there is a reprise of a simple three-part form (13-20 vols.). The melodic line varied in the zone of the final cadence is given an octave higher.

The second part of a complex three-part form (21-47 volumes) is a trio with two independent sections. One could see in the trio a simple two-part, non-repertoire form, but the material of the parts is too heterogeneous.

The first section (21-28 vols.) Has the form of a square modulating in tonalityIIdursteps (A- dur) a period of two sentences of re-construction. The first section begins in the main key. Tertz moves in the high register are accompanied by an ascending scale-like movement in the lower voice, in the second sentence the voices change places.

The second section (28-36 vols.) Runs in the tonality of the dominant. An atmosphere of carefree fun reigns here. You can hear folk tune in the music. The playful, unpretentious melody is accompanied by alberti bass on the dominant organ point (the organ point is removed only in front of the bunch).

The purpose of the bundle (36-47 vols.) Is a smooth translation into a reprise of a complex three-part form. In conjunction, the motivational development of the first section of the trio turns into cadence on the dominant organ point to the main key.

Reprise of a complex three-part form, accurate (48-67 vols.).

The second part of the complex three-part form of the minuet is a trio (68-87 vols.). It is harmoniously open. Starts inC- dur... Developing as a period of two sentences of re-structure, it contains a link to the reprise. The topic is polymotive. "Fanfare" against the background of the octave moves of the accompaniment alternate with the ascending sequencing of the canable phrases.

After the link, where the modulation in the main key is performed, a reprise and coda of a complex three-part form follow (88-107 vols., 108-120 vols.). The reprise is shortened. There remains only an exact repetition of the exposure (the first part) of a complex three-part form.

Code on the material of the exposition. It contains motivational development, deviations in the subdominant sphere. Ends with the statement of tonic and joyful dance mood.

Note that due to the specificity of the form, it is possible to catch the signs of a "simple" rondo. The first part of a complex three-part form (1-20 vols.) Can be considered as a refrain. The second part of a complex three-part form (which is itself the first part of a complex three-part form), therefore, will act as the first episode (21-47 vols.). And the "C major" trio (68-87 vols.) Will be the second episode.

The structural analysis of the Twentieth Piano Sonata allows one to get closer to understanding the logic of Beethoven's composer's thinking, to understand the role of the composer as a reformer of the piano sonata genre. This area was the "creative laboratory" of L. Beethoven, each sonata has its own unique artistic appearance. Two-part sonata op. 49Nr... 2 L. Beethoven is unusually inspired and poetic, as if covered with warmth and warmed by the radiant sun.

Bibliography

Alschwang A. Ludwig van Beethoven. M., 1977

Mazel L. The structure of musical works. M., 1979

Protopopov V.V. Beethoven's principles of musical form. M., 1970

Kholopova V. Analysis of musical forms. "Doe", M., 2001

The sonata was written by the composer in the early period of the composer's work. The work is dedicated to Joseph Haydn. The sonata consists of 4 parts, each of which sequentially reveals the drama of the development of the image.

Throughout each of the four parts of the sonata, its life-affirming concept is consistently revealed and approved. Positiveness, optimism and love of life - these are the features that most fully characterize the imaginative side of the work of the older "Viennese classic" - Joseph Haydn. And behind the main tonality of the sonata - A-dur, the meaning of "light", graceful tonality was semantically fixed.

The first part of the cycle - according to the tradition of the classics, is written in the form of the Sonata Allegro. The ratio of images of G.P. and P.P. typical for the creativity of L.V. Beethoven. G.P. is active, upbeat. P.P. sets off G.P. its gracefulness and playfulness. The sound of both themes in the main key in the reprise section of the 1st part brings the two images closer together in sound.

Part II - Largo appassionato (D-dur) - introduces contrast, reveals new emotional facets of the work. The main theme is impetuous, passionate, it undergoes continuous development and comes to its culmination at the end of the movement.

This work consists of 4 parts, which testifies to the convergence in the composer's work of the genres of sonata and symphony.

Part III - Scherzo. As mentioned above, L.V. Beethoven made changes to the composition of the sonata-symphonic cycle of his works. One of the innovations consisted in the fact that instead of the Minuet in 3 parts of the cycle, the composer uses the Scherzo, thereby expanding the range of images of both the 3 parts itself and the work as a whole. This is also the structure of the third movement of this sonata.

The scherzo has a playful, playful character. It is based on 2 images that set off each other.

The third movement of the sonata is written in a complex three-part reprise form with a trio in the middle.

Part I of a complex form is a simple three-part two-dark reprise form.

Part II (trio) - a simple three-part one-dark reprise form.

Part III - an exact reprise (da capo).

Part I (measures 1-45) - written in a simple three-part two-theme reprise form. Its function is to exhibit and develop the main theme ("a"). Theme "a" has a scary, playful character.

1 part of a simple three-part form (1-8 bars) - a square period of a varied-repeated structure, consisting of 2 sentences.

Mid cadence (measure 4) - half, incomplete: II2 # 3 - II43 # 3-II65 # 3 - D53.

The final cadence (bars 7-8) is incomplete, perfect: D7 - T53.

In general, the period exhibits the main theme - "a".

The main key of the 1st movement is A-dur (as is the main key of the entire sonata). The tonal-harmonic plan of the 1st movement of a simple form is simple and static (this is dictated by the expositional type of presentation), based on harmonic turns (plagal, authentic, full) of classical harmony using chords of the tertz structure.

In the 1st sentence, the main key is asserted due to a complete harmonic turnover with the inclusion of altered chords of the S-group:

1 bar 2 bar 3 bar 4 bar

T53 T53 II2 # 3 II43 # 3 II65 # 3 D53

• Sentence 2 also asserts the basic tonality using bright authentic turns:
• 5 bar 6 bar 7 bar 8 bar

• 1 part of a simple form is characterized by a discharged texture. The main expressive grain of the theme "a" is the timbre-spatial ratio of 2 elements of the theme (the active element with sixteenth durations in the upper register and dense chords in the lower register).
• Part 2 of a simple three-part form (9-32 measures) - has a double function: the development of the theme "a", the exposure of the theme "b" shading the theme "a". That. Part 2 has the structure of a free construction, in which 2 stages of development can be distinguished:
• Stage 1 (measures 9-19) - develops theme "a". Development takes place by varying the main theme and its motivational development. Varying, theme "a" is carried out in different tonalities, which determines the flexibility of the tonal-harmonic plan.
• 9 bar 10 bar 11 bar 12 bar 13 bar 14 bar 15 bar 16 bar

D53 D7 D53 (VI) D VI53 III53 = s53 D65 D7

17 bar 18 bar 19 bar

D7 - t53 t6 - s53 t64 - D7.

Based on the above beat-by-beat harmonic analysis, we can conclude that on the verge of stages 1-2 of the development of the second part of a simple form, modulation occurs in the tonality of the VII degree (gis-moll). The transition to a new key is carried out by equating the chord III53 = s53.

The change in tonality also marks the emergence of another round of development. The second stage begins (20-25 bars) - a new theme "b" appears in it, which by its nature sets off the theme "a": against the background of moving Albertian basses, a melody of a canted character sounds.

Lado - harmonious development does not go beyond the new key (gis-moll). Its affirmation occurs through full and authentic turns:

20 bar 21 bar 22 bar 23 bar 24 bar 25 bar

t53 D43 t6 VII64 t53 II6 t64 D53 t53 D43

• Section 2 ends with an open autotent cadence (t53 - D43).
• 26-32 measures are a precursor, preparation of a reprise of the first movement of a complex form. The role of the pre-act is also to return the A-major key in which the reprise will sound. The intensity of the sound of the pre-act is due to the frequent change of the harmonic pulse, a chain of deviations that gradually return the harmonic development to the main tonality.
• 26 bars 27 bars 28 bars 30 bars 31 bars 32 bars

t6 D7 VI53 = D53 D7 s 53 D43

The reprise of the first movement of a complex three-part form comes after a general pause.

The reprise (33-45 measures) is expanded (with a four-bar addition). The presence of such an addition after the cadence is one of the features of L.V. Beethoven. In general, the reprise is accurate with the statement (in addition) of the main thematic elements of the image "a".

The first part of the complex three-part form ends with an incomplete, final, perfect cadence:

42 bar 43 bar 44 bar 45 bar

Part II of a complex three-part form is TRIO.

The characteristic features of the trio include:

• - thematic design
• - clear structure (simple three-part form)
• - the presence of the main tonality.

The trio is written in the key of the same name (a-minor), which is introduced without a gradual transition, by means of juxtaposition.

Structurally, the II part of a complex three-part form is a simple three-part one-dark reprise form.

1 part of a trio (1-8 bars) - a square, open period of a varied-repeated structure.

Mid cadence (measure 4) - half, incomplete cadence (D43 - D2).

Closing cadence (measures 7-8) -

full, final, perfect (e-moll):

7 bar 8 bar

s53 - t64 - D7 t 53

The function of the 1st part of the trio, therefore, consists in exhibiting (1st sentence) and development (2nd sentence) of the "c" theme (the main theme of the Trio).

The theme "s" is of a song, canted character. It is homogeneous in structure: the melodic line is set out in even lengths against the background of Albertian basses. The mid-voice tones create vibrant harmonies. The mobility of the bass voices ensures frequent changes in harmony (for each beat of a measure), forming passing harmonic turns:

1 bar 2 bar 3 bar 4 bar

t53 - D64 - t6 VII64g - t6 - D64 t53 - D64 - t6 VII64g - t6 - D64

5 bar 6 bar 7 bar 8 bar

t53 = s53 - t6 - D43 t53 - II 53 - t6 s53 - t64 - D7 t53

Based on the beat-to-beat harmonic analysis, we can draw a conclusion about the peculiarities of the harmonic development of the 1st part of the trio.

The harmonious development of the 1st sentence does not go beyond the main tonality and is aimed at its affirmation, which occurs through authentic turns. The developing character of the 2nd sentence of the 1st movement of the trio led to a great mobility of harmonious development. The impetus for it is modulation in measure 5 into the key of the minor dominant (e-moll), in which the final cadence will be carried out.

• The second part of the trio (bars 9-16) has the structure of a square period of a single structure. Sounds in the key of a parallel major to the main key of the trio (C-dur), which is introduced without preparation, by means of juxtaposition. The function of the second part of the trio is the development of the "s" theme.
• Movement 2 ends with an open, incomplete cadence in the main key of the trio (a-minor).

The harmonious development of the 2 parts of the trio can be divided into 2 stages. Stage 1 (measures 9-11) - approval of a new key:

9 bar 10 bar 11 bar

T53 - D64 - T6 D2-T6 - D43 T53 - D64 - T6

• Stage 2 (measures 12-16) - gradual return to the key of a-minor:
• 12 bar 13 bar

VII43 II6 VII65 II53 = S53 - t6 VII6

From bar 14 to bar 16, a descending movement of the bass in octaves results in a final open cadence.

The third movement of the trio (measures 17-24) is a varied reprise. The variation concerns, first of all, the 2nd sentence of the reprise. The melodic line is duplicated per octave. The tension in the sound of the reprise is also given by the fact that almost the entire 3 part is sustained at the dominant organ point, which creates a tense expectation of permission.

The trio ends with a final, perfect cadence (bars 23-24): t53 - II6 - D7 - t53.

The trio is followed by the composer's remark: "Scherzo D.C." This means that the III part of the complex three-part reprisal form exactly repeats the I part, thereby affirming the primacy of the main image of the Scherzo - theme "a" and creating symmetry to the work.

The IV movement of the sonata A-dur op.2 No. 2 completes the figurative development of the entire work, summing it up. It is written in the form of a rondo, where the main theme of the refrain has a playful, graceful character, set off by a number of active, dynamic episodes.

Work description

The purpose of this course work is to examine in detail the features of the form using the example of the first movement of the piano sonata No. 9 E-dur. This sonata, like many others, is quite popular among pianists and performers and is included in the stable repertoire of many of them. It is not only the focus of virtuoso performing techniques, but also a reflection of Beethoven's characteristic imagery.
The objectives of our research are a detailed analytical analysis of the structure, tonal plan, melody, harmonic and textured features in the first part of this cycle.

Introduction ………………………………………………………………………… .3

1. Introductory section:
The history and theory of the development of the genre of the sonata …………………………… 5
Sonata genre in the works of L. van Beethoven ……. ………………… ... 10
2. Central analytical section:
2.1 The figurative content of piano sonata No. 9 E-dur by L. van Beethoven ……………………………………………………. …………. …………. ………………………………………………………………

2.2 Structural analysis of the first movement of the sonata: comments on the form-scheme ……………………………………………………………………. ……… .15

2.3 Analysis of the means of expression in the first movement of the piano sonata No. 9 E-major by L. van Beethoven ………………………………………… ... 17

Conclusion:
1.Typical and individual features of the sonata form in the first movement of Beethoven's sonata for piano No. 9 E-dur ………………. ……… .26

1.2. Features of the composer's style on the example of L. van Beethoven's piano sonata No. 9 E-dur …………………………………………. ………… ..27

List of used literature ……………………… .. …………… .28

Files: 1 file

Creativity 1817-26 marked the new rise of Beethoven's genius and at the same time marked the end of the era of musical classicism. Until his last days, remaining faithful to classical ideals, the composer found new forms and means of their embodiment, bordering on romantic ones. A great master of the sonata form, in which dramatic conflicts previously developed, Beethoven in his later works often turns to the fugue form, which is most suitable for embodying the gradual formation of a generalized philosophical idea. The last five piano sonatas (nos. 28-32) and the last 5 quartets (nos. 12-16) are distinguished by a particularly complex and sophisticated musical language.

Thus, the genre of sonata reached its highest peak in the work of Beethoven, who created 32 piano. 10 violin and 5 cello sonatas. In his sonatas, the figurative content is enriched, drama is embodied. collisions, the beginning of the conflict is sharpened. Many of his sonatas reach monumental proportions. Along with the refinement of form and concentration of expression inherent in the art of classicism, features that were subsequently perceived and developed by romantic composers are noticeable in Beethoven's sonatas. Beethoven often writes a sonata in the form of a four-part cycle, reproducing a sequence of parts of a symphony and quartet: sonata allegro - slow lyric part - minuet (or scherzo) - finale. The middle parts are sometimes arranged in the reverse order, sometimes the slow lyrical part is replaced by a part at a more mobile tempo (allegretto). This cycle will take hold in the sonatas of many romantic composers. Beethoven also has two-part sonatas (piano sonata op. 54, op. 90, op. 111), as well as sonatas with a free sequence of movements (piano sonata op. 26; quasi una fantasia op. 27 no. 1 and 2; op . 31 No. 3). In the last Beethoven sonatas, the tendency towards close fusion of the cycle and greater freedom of interpretation is increasing. Connections between parts are introduced, continuous transitions are made from one part to another, fugue sections are included in the cycle. The first part sometimes loses its leading position in the cycle, the finale often becomes the center of gravity. There are reminiscences of previously sounded themes in various parts of the cycle (sonatas op. 101, 102 no. 1). Slow introductions to the first movements (op. 13, 78, 111) also begin to play a significant role in Beethoven's sonatas. Some of Beethoven's sonatas are characterized by elements of a programmatic approach, which was widely developed in the music of romantic composers. For example, three movements of a piano sonata op. 81 are called Farewell, Parting and Return.

2. Central analytical section

2.2 The figurative content of piano sonata No. 9 E-dur by L. van Beethoven

The Piano Sonata E-dur is a cycle of three movements. This work becomes another example of the classical genre of sonata in the work of the Viennese classics and Beethoven in particular. The contrast between the parts of the cycle is built according to the principle of fast - moderately fast - fast (Allegro - Allegretto - Allegro comodo). This succession of parts creates a single line of dramatic development, in which all parts are sustained in a single figurative key.

The first part carries the main semantic load, the main semantic function is associated with it. The second movement is the lyrical center and in this case it is close in character to the minuet, although the composer does not expose the genre designation. The sonata ends with a traditionally quick finale. In form, the last movement is a rondo sonata, despite the fact that the title of the movement indicates Rondo. Such a structural arrangement of the finale is quite natural for the Viennese classics, and even more so for Beethoven. Already starting with Mozart, in such cases the finale was most often written in the form of a rondo sonata, while in Beethoven's examples of the final movements in the form of a “usual” rondo are no longer to be found. Thus, the sonata is an organic, complete and well-built cycle that clearly characterizes Beethoven's thinking and his piano style.

Let's go directly to the consideration of the figurative content of the first part. This section of the sonata is filled with a light, positive mood. All themes in the exposition are distinguished by their completeness, richness of the life-affirming principle, their character of expression is homogeneous in terms of the figurative mood. The initial invocative intonation of the main part directed upwards rivets the listener's attention. The connecting party sounds as affirmative, as if confirming the idea just expressed. The side part at first removes the richness and density of the presentation. In the exposition, the side part becomes the focus of light lyrics, which, nevertheless, does not stand out from the general figurative sphere. The active final part returns the original mood and recharges the energetic imaginative atmosphere. The use of sequential sequences and numerous repetitions is characteristic, lengthening the intonation phrase and thus supporting the dramatic intensity of the composition. Of particular importance is the development, which, although small in scale (30 bars), brings a tangible dramatic intensity. The expressive minor theme that appears here sets off, like a contrasting middle, the light images of the exposition and reprises of the sonata form. The dramatic culmination falls on the beginning of the reprise, that is, on the re-presentation of the main part. This theme this time sounds with the dynamics of f with ascending impetuous passages in the left hand part, its melody is condensed by the chord presentation. All this gives the theme of the main part a solemn and festive sound. All other parts are presented unchanged, not counting their tonal rethinking. The final part smoothly flows into a small code structure, once again confirming the main image of the composition.

The second movement, as already mentioned, is the lyrical center of the entire concert cycle. Written in the key of e-moll (minor of the same name), it becomes the other side of the original image. The scale of the part is small - it is a complex three-part form. The outer sections (form da capo) are built in a simple three-part form with a developmental type in the middle, and the middle section 7 has a simple two-part form (tonality C-major). The development in this part is based on slight variations and numerous repetitions associated with the danceable nature of music.

The finale of the sonata, written in the key of E-dur, is based on images of joy and jubilation, which are in many respects consonant with the beginning of the work .. forms of movement, namely - on light, impetuous arpeggiated passages. The entire finale is sustained in a single figurative and semantic key, echoing the first movement of the sonata, and affirms a light festive mood.

2.2 Structural analysis of the first movement of the sonata: comments on the schematic form

The first movement of the piano sonata No. 9 E-dur by L. van Beethoven we are examining is written in sonata form. This is a typical interpretation of the sonata form for the Viennese classics, in particular for the early period of the composer's work. Thematicism is already gravitating towards expanded forms, but such a design will be fully revealed in Beethoven's later works. There is no deep dramatic conflict between the parties, but the contrast is still there. Development is rather a construction of the type of episode, in which the development of the thematic of the main party takes a minimum place.

The exposition traditionally begins with a presentation of the main part. In structure, it is a large sentence of twelve bars. Of these, the first four, in fact, set out a complete musical idea such as an epigraph, which we will denote by letter a. It is this thematic element that will play a key role in the construction of other themes of the sonata exposition, and will also undergo a certain amount of development in the development. The other two elements of the main party "finish off" the idea stated at the beginning. The first of them is figurative intonation, textured in the form of roll calls. The second element is already connected directly with the cadence zone.

The connecting part begins like the second sentence of the main one, which is quite consonant with the classical sonata form. In form, the linking part is a sentence of ten measures, in which the most part is played out with the dominant harmony in relation to the key of the side part. It should be noted here the method of replacing the tonic, in which the expected resolution of the last harmony of the connecting part in the h-minor key is replaced by the appearance of H-major.

The side game has a clear structure of the period (8 + 8), in which the second sentence is a counterpoint permutation of the votes of the first one with insignificant variation. After the full-sounding main and connecting parts, the side part with its discharged, sometimes monophonic texture, lyrical second intonations in the melody introduces an element of figurative contrast to the exposition. The final batch is significant in comparison with the rest of the batches and consists of a number of elements. The first of them, through repetitions, affirms a "new" tonic and has a clearly final character, which does not call into question its definition as the beginning of the final game. The second element introduces the illusion of movement, continuation of development and even leads to the dynamics of ff, however, after an abrupt stop, the third element appears - the rethought first element of the main party. This structure, to some extent, serves as a link with development, since ends with dominant harmony, the resolution of which falls on the beginning of development 8.

The development begins with the modified intonations of the main part against the background of the sonority of the unstable harmonies of the tonality of the harmonic subdominant (a-minor), which marks the change of function from stable (exposure) to unstable (development) with a median type of presentation. After the motives of the main theme, a new emotionally excited theme appears, which has a cross-cutting nature of presentation. However, you can find a conditional border in it: the first eight measures are set out within the key of a-minor, the second eight begin with C-dur and end with a dominant to the key of e-minor. The development in the key of E-major 9 ends with the pre-ordinary zone, which is based on the intonations of the same first element of the main part.

The reprise in this sonata form reproduces all the themes with some changes. The reprise begins with a varied presentation of the main part, in which the structure and tonality are preserved, but the texture and dynamics change. The connecting part, following the main one, is also presented in a changed textured design, and also does not perform modulations, remaining within the framework of the main key. The side part is presented unchanged and is, in fact, a "transport" of the whole theme into a new key. The final part expands in the area of ​​its third element (instead of four - fifteen measures), which takes over the function of coding the entire part.

2.3 Analysis of means of expression in the first movement of piano sonata No. 9 E-dur by L. van Beethoven

The compositional structure and dramatic design of the considered piano sonata reflect the characteristic tendencies of the Viennese classical school. Traditional structural clarity, a bright expression of the instrumental beginning, a connection with the traditions of dance music, a significant melodic diversity - these are the main features inherent in the thematic deployment in the first movement of the E-dur sonata. Let us consider in more detail their interaction using the example of the analysis of means of expressiveness of the main themes in the exposition:

Main party:

The theme of the main part is an example of a melody of a light, energetic, even Beethoven-like heroic character. The initial motive in a confident movement with elements of marching outlines the interval of the fourth (a move from the fifth step up to the first), which is then sequenced. This is the first element of the main party. In the next thematic element (light sixteenth durations moving in thirds intervals) features of some scurry are guessed. Finally, the last element of the main part draws another figurative side: a smooth movement along the sounds of chords, adjacent to the cadence zone. Thus, over the course of twelve bars, a full-fledged development of thematicism, a comprehensive disclosure of the original image, is carried out.

Despite the multifaceted nature of the main part, it is all kept within the main key. The fret is clearly outlined by the main functions, and the full functional turn is carried out already in the first four strokes. The entire main game ends with an invading cadence on the dominant, the resolution of which falls on the connecting party.

Functions of sounds in fret:

I Art. - function T.

II Art. - upper opening tone.

III Art. - the function of the upper mediant in E-dur.

IV Art. - S, in an altered form - SS before D.

V Art. - function D.

VI Art. - the lower median in the main key.

VII Art. - lower opening tone.

The expressive quality of the mode under consideration is to emphasize stability by highlighting its main steps. The tonic function prevails here, which is a traditional feature of the main part in the sonata forms of the period of Viennese classicism. Let's take a closer look:

• 1 measure ("inviting motive") - completely on T (stability);
• 2 bar - completely on the S item, and in a consonant and dissonant presentation (instability);
• 3 clock - dominant function (increased instability).
• 4 bar - resolution to root and stop.
• 5-6 measures - completely on the 1st stage. (stability), except for the very last sound, which is an increased IV stage, tending to the dominant
• 7-8 measures - completely on the dominant function (non-empty).
• Measures 9-12 - cadence repeated twice, in which the dominant function is played out.