Who named the moonlight sonata. "Moonlight Sonata" by L. Beethoven: history of creation

This romantic title was given not by the author himself, but by the music critic Ludwig Rellstab in 1832, after Beethoven's death.

And the composer's sonata had a more prosaic name:Piano Sonata No. 14 in C sharp minor, op. 27, no. 2.Then they began to add to this name in brackets: "Lunar". Moreover, this second name concerned only the first part of it, the music of which seemed to the criticism similar to the moonlight over Lake Lucerne - this is a famous lake in Switzerland, which is also called Lucerne. This lake has nothing to do with Beethoven's name, it's just such a game of associations.

So, Moonlight Sonata.

Creation story and romantic overtones

Sonata No. 14 was written in 1802 and is dedicated to Juliet Guicciardi (Italian by birth). Beethoven gave this 18-year-old girl music lessons in 1801 and was in love with her. Not just in love, but had serious intentions to marry her, but, unfortunately, she fell in love with another and married him. Later she became a famous Austrian pianist and singer.

Art critics believe that he even left a kind of testament in which he calls Juliet his "immortal lover" - he sincerely believed that his love is mutual. This can be seen from Beethoven's letter of November 16, 1801: "The change that has now occurred in me is caused by a lovely, wonderful girl who loves me and is loved by me."

But when you listen to the third movement of this sonata, you realize that while writing the work, Beethoven no longer experienced any illusions regarding reciprocity on the part of Juliet. But first things first…

The form of this sonata differs slightly from the classical sonata form. And this was emphasized by Beethoven in the subtitle "in the spirit of fantasy."

Sonata shape Is a musical form that consists of 3 main sections: the first section is called exposure, in which the main and secondary parties are opposed. Second section - development, in it these themes develop. The third section is reprise, the exposure is repeated with changes.

The Moonlight Sonata consists of 3 parts.

1 part Adagio sostenuto- slow musical tempo. In the classical sonata form, this tempo is usually used in the middle section. The music is slow and rather mournful, its rhythmic movement is somewhat monotonous, which does not really correspond to Beethoven's music. But bass chords, melody and rhythm wonderfully create a vivid harmony of sounds that so captivate any listener and remind of the magical moonlight.

Part 2 Allegretto- moderately brisk pace. Here you can feel some kind of hope, spiritual uplift. But it does not lead to a happy outcome, the last, third part will show it.

Part 3 Presto agitato- very fast, agitated pace. In contrast to the perky mood of the Allegro tempo, Presto usually sounds bold and even aggressive, and its complexity requires a virtuoso level of mastery of the musical instrument. The writer Romain Rolland described the last part of Beethoven's sonata in an interesting and figurative way: “A man taken to an extreme becomes silent, his breathing is cut short. And when in a minute the breath comes to life and the person rises, vain efforts, sobs, and rampages are over. All said, the soul is devastated. In the last bars, only a majestic force remains, conquering, taming, accepting the flow. "

Indeed, this is a powerful stream of feelings, in which there is despair, hope, collapse of hopes and the inability to express the pain that a person is experiencing. Amazing music!

Modern perception of Beethoven's "Moonlight Sonata"

Beethoven's Moonlight Sonata is one of the most popular works of world classical music. It is often performed at concerts, it sounds in many films, performances, figure skaters use it for their performances, it sounds in the background in video games.

The performers of this sonata were the most famous pianists in the world: Glenn Gould, Vladimir Horowitz, Emil Gilels and many others.

Miniature portrait of Juliet Guicciardi (Julie "Giulietta" Guicciardi, 1784-1856), married Countess Gallenberg

The sonata is subtitled “in the spirit of fantasy” (Italian quasi una fantasia), as it breaks the traditional sequence of movements “fast-slow- [fast] -fast”. Instead, the sonata has a linear developmental trajectory - from the slow first movement to the turbulent finale.

There are 3 parts in the sonata:
1. Adagio sostenuto
2. Allegretto
3. Presto agitato

(Wilhelm Kempf)

(Heinrich Neuhaus)

The sonata was written in 1801 and published in 1802. This is the period when Beethoven complained more and more about hearing impairment, but he continued to enjoy popularity in Viennese high society and had many students and pupils in aristocratic circles. On November 16, 1801, he wrote to his friend Franz Wegeler in Bonn: “The change that has now occurred in me is caused by a sweet wonderful girl who loves me and is loved by me. In these two years there were several magical moments and for the first time I felt that marriage can make a person happy. "

It is believed that the "wonderful girl" was a student of Beethoven, 17-year-old Countess Juliet Guicciardi, to whom he dedicated the second sonata Opus 27 or "Moonlight Sonata" (Mondscheinsonate).

Beethoven met Juliet (who came from Italy) at the end of 1800. The letter quoted to Wegeler dates back to November 1801, but already at the beginning of 1802 Juliet chose Count Robert Gallenberg, a mediocre amateur composer, over Beethoven. On October 6, 1802, Beethoven wrote the famous "Heiligenstadt Testament" - a tragic document in which desperate thoughts of hearing loss are combined with the bitterness of deceived love. Dreams were finally dispelled on November 3, 1803, when Juliet married the Count of Gallenberg in marriage.

The popular and surprisingly strong name "lunar" was entrenched behind the sonata on the initiative of the poet Ludwig Rellstab, who (in 1832, after the author's death) compared the music of the first movement of the sonata with the landscape of Lake Lucerne on a moonlit night.

There have been many objections to this naming of the sonatas. L. Rubinstein, in particular, protested vigorously. “Moonlight,” he wrote, requires something dreamy, melancholy, pensive, peaceful, and generally tenderly shining in the musical depiction. The very first movement of the cis-moll sonata is tragic from the first to the last note (the minor mode also hints at this) and thus represents a cloudy sky - a gloomy mood; the last part is stormy, passionate and, therefore, expressing something completely opposite to the gentle light. Only a small second part admits a minute moonlight ... ".

This is one of the most popular Beethoven sonatas, and one of the most popular piano pieces in general (

This sonata, composed in 1801 and published in 1802, is dedicated to Countess Juliet Guicciardi. The popular and surprisingly strong name "lunar" was consolidated behind the sonata on the initiative of the poet Ludwig Rellstab, who compared the music of the first movement of the sonata with the landscape of Lake Lucerne on a moonlit night.

There have been many objections to this naming of the sonatas. A. Rubinstein, in particular, protested vigorously. “Moonlight,” he wrote, “requires something dreamy, melancholy, pensive, peaceful, and generally tenderly shining in a musical depiction. The very first movement of the cis-moll sonata is tragic from the first to the last note (the minor mode also hints at this) and thus represents the sky covered with clouds - a gloomy state of mind; the last part is stormy, passionate and, therefore, expressing something completely opposite to the gentle light. Only a small second part admits a momentary moonlight ... "

Nevertheless, the name "lunar" has remained unshakable to this day - it was already justified by the possibility of one poetic word to designate a work so beloved by the audience, without resorting to indicating the opus, number and tonality.

It is known that the reason for the composition of the sonata, Op. 27 No. 2 was the relationship between Beethoven and his beloved Juliet Guicciardi. This was, apparently, the first deep love passion of Beethoven, accompanied by an equally deep disappointment.

Beethoven met Juliet (who came from Italy) at the end of 1800. The flowering of love dates back to 1801. Back in November of this year, Beethoven wrote to Wegeler about Juliet: "she loves me, and I love her." But already at the beginning of 1802, Juliet inclined her sympathies to an empty person and a mediocre composer, Count Robert Gallenberg (Juliet and Gallenberg's wedding took place on November 3, 1803).

On October 6, 1802, Beethoven wrote the famous "Heiligenstadt Testament" - a tragic document of his life, in which desperate thoughts of hearing loss are combined with the bitterness of deceived love (The further moral downfall of Juliet Guicciardi, humiliated to debauchery and espionage, is succinctly and vividly depicted by Romain Rolland (see R. Rolland. Beethoven. Les grandes epoques creatrices. Le chant de la resurrection. Paris, 1937, pp. 570-571). ).

The object of Beethoven's passionate affection turned out to be completely unworthy. But Beethoven's genius, inspired by love, created an amazing work, unusually strong and generalized expressing the drama of excitement and impulses of feeling. Therefore, it would be wrong to consider Juliet Guicciardi the heroine of the "moon" sonata. She only dreamed of such to the consciousness of Beethoven, blinded by love. But in fact, she turned out to be only a model, sublime by the work of the great artist.

Over the 210 years of its existence, the "moon" sonata has aroused and evokes the delight of musicians and everyone who loves music. This sonata, in particular, was tremendously appreciated by Chopin and Liszt (the latter was especially famous for its ingenious performance). Even Berlioz, generally speaking rather indifferent to piano music, found poetry in the first movement of the moonlit sonata that was inexpressible in human words.

In Russia, the "moon" sonata has always enjoyed and continues to enjoy the most ardent recognition and love. When Lenz, starting to evaluate the "moon" sonata, pays tribute to many lyrical digressions and recollections, there is an unusual emotion of the critic, preventing him from concentrating on the analysis of the subject.

Ulybyshev ranks the "moonlight" sonata among the works marked with the "seal of immortality", possessing "the rarest and most beautiful of the privileges - the privilege of liking initiates and profane alike, to please as long as there are ears to hear, and hearts to love, and to suffer".

Serov called the "moonlight" sonata "one of the most inspired sonatas" by Beethoven.

V. Stasov's recollections of his youth are characteristic, when he and Serov enthusiastically perceived Liszt's performance of the "moon" sonata. “It was,” Stasov writes in his memoirs “School of Jurisprudence Forty Years Ago,” “the very“ dramatic music ”that Serov and I dreamed of most of all in those days and exchanged thoughts every minute in our correspondence, considering it that form , into which all music must finally turn. It seemed to me that this sonata contains a number of scenes, a tragic drama: “in the first movement - dreamy meek love and a state of mind, at times filled with gloomy forebodings; further, in the second part (in Scherzo) - the state of mind is more calm, even playful - hope is revived; finally, in the third part, despair and jealousy are raging, and everything ends with a dagger strike and death) ”.

Stasov experienced similar impressions from the "moonlight" sonata later, listening to A. Rubinstein's play: “... suddenly quiet, important sounds rushed as if from some invisible depths of the soul, from afar, from afar. Some were sad, full of endless sadness, others thoughtful, crowding memories, premonitions of terrible expectations ... at those moments I was infinitely happy and only recalled to myself how 47 years earlier, in 1842, I heard this greatest sonata performed Liszt, in his III Petersburg concert ... and now, after so many years, I again see a new genius musician and again hear this great sonata, this wonderful drama, with love, jealousy and a formidable blow of a dagger at the end - again I am happy and drunk on music and poetry. "

The "Moonlight" sonata also entered Russian fiction. For example, the heroine of Leo Tolstoy's Family Happiness (Chapters I and IX) plays this sonata at the time of cordial relations with her husband.

Naturally, the inspirational researcher of the spiritual world and Beethoven's work, Romain Rolland, devoted quite a few expressions to the "moon" sonata.

Romain Rolland aptly characterizes the range of images of the sonata, linking them with Beethoven's early disappointment in Juliet: "The illusion did not last long, and already in the sonata you can see more suffering and anger than love." Calling the "moonlit" sonata "dark and fiery", Romain Rolland very correctly deduces its form from the content, shows that freedom is combined in the sonata with harmony, that "a miracle of art and heart - feeling manifests itself here as a powerful builder. The unity, which the artist does not seek in the architectonic laws of a given passage or musical genre, he finds in the laws of his own passion. " Let's add - and in the knowledge on personal experience of the laws of passionate experiences in general.

In the realistic psychology of the "moon" sonata - the most important reason for its popularity. And, of course, BV Asafiev was right when he wrote: “The emotional tone of this sonata is filled with strength and romantic pathos. The music, nervous and agitated, now flares up with a bright flame, then dies in agonizing despair. The melody sings, crying. The deep cordiality inherent in the described sonata makes it one of the most beloved and accessible. It is difficult not to succumb to the influence of such sincere music - the expression of direct feelings. "

The "Moonlight" sonata is a brilliant proof of the position of aesthetics that the form is subordinated to the content, that the content creates, crystallizes the form. The power of experience gives rise to the persuasiveness of logic. And it is not for nothing that Beethoven achieves a brilliant synthesis of those most important factors in the "moonlight" sonata that appear more isolated in the previous sonatas. These are the factors: 1) deep drama, 2) thematic integrity and 3) the continuity of the development of "action" from the first part to the final inclusive (crescendo of the form).

First part(Adagio sostenuto, cis-moll) is written in a special form. The twofoldness is complicated here by the introduction of advanced development elements and extensive preparation of a reprise. All this partly brings the form of this Adagio closer to the sonata form.

In the music of the first movement, Ulybyshev saw the "heartbreaking sadness" of lonely love, similar to "fire without food." Romain Rolland also tends to interpret the first movement in the spirit of melancholy, lamentation and sobbing.

We think that such an interpretation is one-sided, and that Stasov was much more right (see above).

The music of the first movement is emotionally rich. Here there is calm contemplation, and sadness, and moments of light faith, and sorrowful doubts, and restrained impulses, and heavy forebodings. All this is brilliantly expressed by Beethoven within the general boundaries of concentrated meditation. This is the beginning of every deep and demanding feeling - it hopes, worries, with trepidation penetrates into its own completeness, into the power of experience over the soul. Self-recognition and an excited thought about how to be, what to do.

Beethoven finds unusually expressive means of embodying such an idea.

Constant triplets of harmonic tones are designed to convey that sound background of monotonous external impressions that envelop the thoughts and feelings of a deeply pensive person.

There can hardly be any doubt that a passionate admirer of nature - Beethoven and here, in the first part of the "lunar", gave images of his emotional excitement against the background of a quiet, calm, monotonous sounding landscape. Therefore, the music of the first movement is easily associated with the genre of nocturne (apparently, there was already an understanding of the special poetic qualities of the night, when silence deepens and sharpens the ability to dream!).

The very first bars of the "moonlight" sonata are a very vivid example of the "organism" of Beethoven's pianism. But this is not an ecclesiastical organ, but an organ of nature, the full, solemn sounds of her peaceful womb.

Harmony sings from the very beginning - this is the secret of the exceptional intonational unity of all music. The emergence of quiet, hidden G sharp("Romantic" fifth of the tonic!) In the right hand (vols. 5-6) - a perfectly found intonation of persistent, persistent thought. An affectionate melody (vols. 7-9) grows out of it, leading to E major. But this bright dream is short-lived - with v. 10 (E minor) the music is darkened again.

However, elements of will, ripening determination begin to slip through her. They, in turn, disappear with a turn in B minor (v. 15), where then accents are highlighted. do-bekar(vols. 16 and 18), similar to a timid request.

The music died down, but only in order to rise again. Carrying out the theme in F-sharp minor (p. 23) is a new stage. The element of will grows stronger, the emotion becomes stronger and more courageous - but here on its way new doubts and reflections. This is the whole period of the organ octave point G sharp in the bass leading to a reprise in C sharp minor. At this organ point, soft accents of quarters are first heard (vols. 28-32). Then the thematic element temporarily disappears: the former harmonic background came to the fore - as if there was confusion in the harmonious train of thoughts, and their thread was torn. Equilibrium is gradually restored, and the reprise of the C sharp minor indicates the steadfastness, constancy, and insurmountability of the initial circle of experiences.

So, in the first part of Adagio, Beethoven gives a whole range of shades and tendencies to the underlying emotion. Changes in harmonic colors, register contrasts, contractions and expansions rhythmically contribute to the convexity of all these shades and tendencies.

In the second part of Adagio, the circle of images is the same, but the stage of development is different. E major is now held longer (vols. 46-48), and the appearance of the characteristic punctuated figure of the theme in it seems to promise bright hope. The presentation as a whole is dynamically concise. If at the beginning of Adagio the melody took twenty-two measures to rise from the G-sharp of the first octave to the E of the second octave, now, in the reprise, the melody overcomes this distance for only seven measures. Such an acceleration of the rate of development is accompanied by the emergence of new volitional elements of intonation. But the outcome was not found, and indeed it cannot, should not be found (after all, this is only the first part!). The coda, with its sound of persistent punctuated figures in the bass, plunging into a low register, into a dull and vague pianissimo, sets off indecision and mystery. Feeling realized its depth and inevitability - but it confronts the fact in bewilderment and must turn outward in order to overcome contemplation.

It is this kind of "outward appeal" that gives second part(Allegretto, Des-dur).

Liszt described this part as "a flower between two abysses" - a poetically brilliant comparison, but still superficial!

Nagel saw in the second part "a picture of real life, fluttering with lovely images around the dreamer." This, I think, is closer to the truth, but not enough to understand the plot core of the sonata.

Romain Rolland refrains from specifying the Allegretto and confines himself to the words that “anyone can accurately assess the desired effect achieved by this small picture, set exactly in this place in the work. This playful, smiling grace must inevitably cause — and indeed does — an increase in sorrow; her appearance turns the soul, at first crying and depressed, into a fury of passion. "

We saw above that Romain Rolland boldly tried to interpret the previous sonata (the first of the same opus) as a portrait of Princess Liechtenstein. It is not clear why in this case he refrains from the naturally suggestive thought that the Allegretto of the "moonlit" sonata is directly related to the image of Juliet Guicciardi.

Having accepted this possibility (it seems to us logical), we will also understand the intention of the entire sonata opus - that is, both sonatas with the general subtitle “quasi una Fantasia”. Painting the secular superficiality of the soul of Princess Liechtenstein, Beethoven ends up stripping off secular masks and loud laughter in the finale. In the "lunar" it fails, as love deeply stung the heart.

But thought and will do not give up their positions. In Allegretto "lunar" an unusually life image is created, combining charm with frivolity, seeming cordiality with indifferent coquetry. Liszt also noted the extreme difficulty of perfect execution of this part due to its extreme rhythmic capriciousness. Indeed, already the first four bars contain the contrast of the intonations of the affectionate and the mocking. And then - incessant emotional turns, as if teasing and not bringing the desired satisfaction.

The tense expectation of the end of the first part of Adagio gives way as if the cover is falling. And what? The soul is in the power of charm, but at the same time, with every moment it realizes its fragility and deceit.

When gracefully capricious figures of Allegretto sound after the inspirational, gloomy song of Adagio sostenuto, it is difficult to get rid of the ambiguous feeling. Graceful music attracts, but at the same time seems unworthy of what has just been experienced. In this contrast is the stunning genius of Beethoven's design and embodiment. A few words about the place of Allegretto in the structure of the whole. It is in essence slow scherzo, and its purpose, among other things, is to serve as a link in the three phases of the movement, a transition from the slow meditation of the first movement to the storm of the finale.

The final(Presto agitato, cis-moll) has long caused surprise with the irrepressible energy of his emotions. Lenz compared it "with a stream of burning lava", Ulybyshev called it "a masterpiece of ardent expressiveness."

Romain Rolland speaks of "the immortal explosion of the final presto agitato", of the "wild night storm", of the "gigantic picture of the soul."

The finale completes the "moon" sonata extremely strongly, giving not a decline (as even in the "pathetic" sonata), but a great increase in tension and drama.

It is not difficult to notice the close intonational connections of the finale with the first movement - they are in the special role of active harmonic figurations (the background of the first movement, both themes of the finale), in the ostinous rhythmic background. But the contrast of emotions is maximal.

Nothing equal to the sweep of these seething waves of arpeggios with loud beats at the tops of their crests cannot be found in earlier Beethoven sonatas - let alone Haydn or Mozart.

The entire first theme of the finale is an image of that extreme degree of excitement when a person is completely incapable of reasoning, when he does not even distinguish between the boundaries of the external and internal world. Therefore, there is no clearly expressed thematicism, but only an uncontrollable boil and explosions of passions capable of the most unexpected antics (aptly defined by Romain Rolland, according to which in vols. 9-14 - "fury, hardened and, as it were, stamping their feet"). Fermata v. 14 is very truthful: so suddenly for a moment a man stops in his impulse, in order to then surrender to him again.

The side game (vol. 21, etc.) is a new phase. The roar of the sixteenths went into the bass, became the background, and the theme of the right hand testifies to the appearance of a strong-willed beginning.

It has been said and written more than once about the historical links between Beethoven's music and the music of his immediate predecessors. These connections are absolutely indisputable. But here's an example of how an innovative artist reimagines tradition. The following excerpt from the side game of the "lunar" finale:

in its "context" expresses impetuosity and determination. Is it not indicative to compare with him the sonatas of Haydn and Mozart, similar in terms of turns, but different in character (example 51 - from the second movement of Haydn's sonata Es-major; example 52 - from the first movement of Mozart's sonata C-major; example 53 - from the first movement Mozart Sonatas B-dur) (Haydn is here (as in a number of other cases) closer to Beethoven, more straightforward; Mozart is more gallant.):

Such is the constant rethinking of the intonational traditions widely used by Beethoven.

The further development of the side party strengthens the strong-willed, organizing element. True, in the beats of sustained chords and in the running of spinning scales (vol. 33, etc.), passion is again recklessly raging. However, a preliminary denouement is outlined in the final game.

The first section of the final part (vols. 43-56) with its chased rhythm of eighths (which replaced the sixteenths) (Romain Rolland very rightly points out the mistake of the publishers, who replaced (contrary to the author's instructions) here, as well as in the bass accompaniment of the beginning of the part, the accents with dots (R. Rolland, vol. 7, pp. 125-126).) full of irrepressible impulse (this is the determination of passion). And in the second section (vol. 57, etc.) an element of sublime reconciliation appears (in the melody - the fifth of the tonic, which dominated in the punctuated group of the first part!). At the same time, the returned rhythmic background of the sixteenth notes maintains the necessary pace of movement (which would inevitably fall if it calmed down against the background of the eighths).

It should be noted especially that the end of the exposure directly (background activation, modulation) flows into its repetition, and again - into development. This is an essential point. In none of the earlier sonata allegros in Beethoven's piano sonatas is there such a dynamic and direct fusion of exposure with development, although in some places there are prerequisites, “hints” of such continuity. If the first parts of sonatas Nos. 1, 2, 3, 4, 5, 6, 10, 11 (as well as the last parts of sonatas Nos. 5 and 6 and the second part of sonata No. 11) are completely "fenced off" from further exposition, then in The first parts of sonatas Nos. 7, 8, 9 have already outlined close, direct connections between expositions and developments (although the dynamics of the transition, characteristic of the third movement of the "moon" sonata, is absent everywhere). Referring for comparison to the parts of the clavier sonatas of Haydn and Mozart (written in sonata form), we will see that there the "fencing" of the exposure by cadance from the subsequent is a strict law, and isolated cases of its violation are dynamically neutral. Thus, one cannot but recognize Beethoven as an innovator on the path of dynamically overcoming the "absolute" boundaries of exposure and development; this important innovative tendency is confirmed by later sonatas.

In the development of the finale, along with the variation of the previous elements, new expressive factors play a role. Thus, playing a side game in the left hand gets, thanks to the lengthening of the thematic period, traits of slowness and prudence. Deliberately restrained and the music of descending sequences at the organ point of the dominant in C sharp minor at the end of the development. These are all subtle psychological details that paint a picture of a passion that seeks rational restraint. However, after finishing the development of the pianissimo chords, the beat of the beginning of the reprise (This unexpected "blow", again, is innovative. Later Beethoven achieved even more stunning dynamic contrasts - in the first and last parts of "Appassionata".) proclaims that all such attempts are deceiving.

Compression of the first section of the recapitulation (to the side part) speeds up the action and creates a prerequisite for further expansion.

It is significant to compare the intonations of the first section of the final part of the reprise (from v. 137 - continuous movement of the eighth notes) with the corresponding section of the exposition. In vols. 49-56, the movements of the upper voice of the group of eighths are directed first downward and then upward. In vols. 143-150 movements first give fractures (down - up, down - up), and then fall off. This gives the music a more dramatic character than before. The calming down of the second section of the concluding part does not, however, complete the sonata.

The return of the first theme (code) expresses the indestructibility, constancy of passion, and in the hum of the thirty-second passages that rise and freeze on the chords (vols. 163-166) its paroxysm is given. But that is not all.

A new wave, which begins with a quiet side part in the bass and leads to violent rumble of arpeggios (three types of subdominants prepare cadence!), Ends with a trill, a short cadence (It is curious that the turns of the falling passages of the eighth cadence after the trill (before the two-bar Adagio) are almost literally reproduced in Chopin's impromptu cis-moll. stages of development of musical thinking. Melodic lines of the finale "lunar" are strict lines of harmonic figuration. Melodic lines of fantasy-impromptu - lines of ornamental playing of triads with secondary chromatic tones. similar plays.) and two deep octaves of bass (Adagio). It is the exhaustion of a passion that has reached its highest limits. The final tempo I echoes a futile attempt to find reconciliation. The subsequent avalanche of arpeggios speaks only of the fact that the spirit is alive and powerful, despite all the painful trials (Later, Beethoven applied this extremely expressive innovation in the code of the ending “appassionata” even more vividly. Chopin tragically rethought this technique in the code of the fourth ballad.).

The figurative meaning of the finale of the "moonlight" sonata is in the grandiose battle of emotion and will, in the great anger of the soul, which fails to master its passions. Not a trace of the rapturous and disturbing dreaminess of the first part and the deceptive illusions of the second was left. But passion and suffering dug into the soul with a never-before-unknown strength.

The final victory has not yet been achieved. In a wild battle, feelings and will, passion and reason were closely, inextricably intertwined with each other. And the final code does not give a denouement, it only confirms the continuation of the struggle.

But if victory is not achieved in the final, then there is no bitterness here, there is no reconciliation. The tremendous strength, the mighty individuality of the hero appear in the very impetuosity and irrepressibility of his experiences. In the "moonlight" sonata, the theatricality of the "pathetic" and the external heroism of the sonata op. 22. The enormous step of the "moonlight" sonata towards the deepest humanity, towards the highest truthfulness of musical images determined its stage-by-stage significance.

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

The creator of the "Moonlight Sonata" called it "a sonata in the spirit of fantasy." She was inspired by a mixture of romance, tenderness and sadness. To the sadness was mingled with the despair of the approach of the inevitable ... and uncertainty.

What was it like for Beethoven when he composed the fourteenth sonata? On the one hand, he was in love with his charming student, Juliet Guichardi, and even made plans for a joint future. On the other hand ... he understood that he was developing deafness. But for a musician, hearing loss is almost worse than loss of sight!

Where did the word “moon” come from in the title of the sonata?

According to some reports, it was named after the death of the composer by his friend Ludwig Rellshtab. According to others (who knows how, but I still tend to trust school textbooks) - she was called that only because there was a fashion for everything "lunar". More precisely, the "lunar designations".

This is how prosaically the title of one of the most magical works of the Great Composer appeared.

Heavy forebodings

Everyone has their own holy of holies. And, as a rule, this most intimate place is located where the author creates. Beethoven in his holy of holies not only composed music, but also ate, slept, pardon the detail, defecated. In short, he had a very familiar relationship with the piano: on top of it there were a heap of notes, and on the bottom there was an empty chamber pot. More precisely, the notes were scattered about wherever you can imagine, including on the piano. The maestro did not differ in accuracy.

Is anyone else surprised that he was rejected by a girl with whom he had the imprudence to fall in love? I, of course, understand that he was the Great Composer ... but if I were in her place, I would not have resisted either.

Or maybe it's for the best? After all, if that lady had made him happy with her attention, then she would have taken the place of the piano ... And then one can only guess how it would have ended. But it was to Countess Juliet Guichardi that he dedicated one of the greatest works of that time.

At thirty, Beethoven had every reason to be happy. He was an established and successful composer who was popular with aristocrats. He was a great virtuoso who was not spoiled even by not so hot manners (oh, and you can feel the influence of Mozart here! ..).

But his good mood was pretty spoiled by the presentiment of trouble: his hearing was gradually fading away. For several years now, Ludwig had noticed that his hearing was getting worse and worse. What caused this? It is hidden by the veil of time.

He was tormented by noise in his ears both day and night. He could hardly distinguish the words of the speakers, and in order to distinguish the sounds of the orchestra, he was forced to stand closer and closer.

And at the same time, the composer was hiding the ailment. He had to suffer in silence and imperceptibly, which could not add much cheerfulness. Therefore, what others saw was only a game, a skillful game for the audience.

But suddenly something happened that confused the soul of the musician much more ...

The history of the creation of Beethoven's Moonlight Sonata is closely related to his biography, as well as to hearing loss. While writing his famous work, he experienced serious health problems, although he was at the top of popularity. He was a welcome guest in aristocratic salons, worked hard and was considered a fashionable musician. On his account there were already many works, including sonatas. However, it is the composition in question that is considered one of the most successful in his work.

Meet Juliet Guicciardi

The history of the creation of Beethoven's "Moonlight Sonata" is directly related to this woman, since he dedicated his new creation to her. She was a countess and at the time of her acquaintance with the famous composer was at a very young age.

Together with her cousins, the girl began to take lessons from him and conquered her teacher with her cheerfulness, good nature and sociability. Beethoven fell in love with her and dreamed of marrying a young beauty. This new feeling caused him a creative upsurge, and he enthusiastically began to work on the work, which has now acquired the status of a cult.

The gap

The history of the creation of Beethoven's Moonlight Sonata, in fact, repeats all the twists and turns of this personal drama of the composer. Juliet loved her teacher, and at first it seemed that things were going to marriage. However, the young coquette later preferred a prominent count to a poor musician, whom she eventually married. This was a heavy blow for the composer, which was reflected in the second part of the work in question. There is pain, anger and despair in it, which are in stark contrast to the serene sound of the first movement. The author's depression was aggravated by hearing loss.

Disease

The story of Beethoven's Moonlight Sonata is as dramatic as the fate of its author. He suffered serious problems due to inflammation of the auditory nerve, which resulted in almost complete hearing loss. He was forced to stand close to the stage to hear the sounds. This could not but affect his work.

Beethoven was famous for being able to accurately select the right notes, choosing from the rich palette of the orchestra the right musical shades and tonalities. Now it was getting harder and harder for him to work every day. The composer's gloomy mood was also reflected in the work in question, in the second part of which the motive of a rebellious impulse sounds, which, it seems, does not find a way out. Undoubtedly, this theme is connected with the torment that the composer experienced while writing the melody.

Name

The story of the creation of Beethoven's Moonlight Sonata is of great importance for understanding the composer's work. Briefly about this event, we can say the following: it testifies to the composer's impressionability, as well as how close he took this personal tragedy to his heart. Therefore, the second part of the essay is written in an angry tone, so many believe that the title does not correspond to the content.

However, to the composer's friend, poet and music critic Ludwig Rellshtab, she recalled the image of a night lake in the moonlight. The second version of the origin of the name is associated with the fact that at the time in question, the fashion for everything that was somehow connected with the moon prevailed, therefore contemporaries readily accepted this beautiful epithet.

Further destiny

The history of the creation of Beethoven's "Moonlight Sonata" should be briefly considered in the context of the composer's biography, since unrequited love influenced his entire subsequent life. After parting with Juliet, he left Vienna and moved to the city, where he wrote his famous will. In it, he poured out those bitter feelings that were reflected in his work. The composer wrote that, despite the apparent gloom and gloom, he was predisposed to kindness and tenderness. He also complained of his deafness.

The history of the creation of Beethoven's "Moonlight Sonata" 14 helps in many ways to understand further events in his fate. Out of despair, he almost made the decision to commit suicide, but in the end he rallied himself and, being already almost completely deaf, wrote his most famous works. A few years later, the lovers met again. Indicative is the fact that Juliet was the first to come to the composer.

She recalled a happy youth, complained of poverty and asked for money. Beethoven lent her a significant amount, but asked not to see him again. In 1826, the maestro fell seriously ill and suffered for several months, but not so much from physical pain as from the consciousness that he could not work. The following year, he passed away, and after his death, a tender letter dedicated to Juliet was found, proving that the great musician retained a feeling of love for the woman who inspired him to create his most famous work. So, one of the most prominent representatives was Ludwig van Beethoven. The Moonlight Sonata, whose creation story was briefly revealed in this essay, is still performed on the best stages around the world.