Why the Moonlight Sonata is the most popular piece. "Moonlight Sonata"

Today we will get acquainted with the piano sonata No. 14, better known as "Moonlight" or "Moonlight Sonata".

• Page 1:
• Introduction. The phenomenon of the popularity of this work
• Why was the sonata called "Moonlight" (the myth of Beethoven and the "blind girl", the real history of the name)
• General characteristics of the "Moonlight Sonata" (a short description of the work with the ability to listen to the performance on video)
• A brief description of each part of the sonata - we comment on the features of all three parts of the work.

Introduction

I greet everyone who is fond of Beethoven's work! My name is Yuri Vanyan and I am the editor of the site you are currently visiting. For more than a year now, I have been publishing detailed and sometimes small introductory articles about a variety of works by the great composer.

However, to my shame, the frequency of posting new articles on our site has dropped dramatically due to my personal employment in recent times, which I promise to fix in the near future (probably will have to involve other authors). But I am even more ashamed that so far not a single article has been published on this resource about the "visiting card" of Beethoven's work - the famous "Moonlight Sonata". IN today's release I will finally try to fill this significant gap.

The phenomenon of the popularity of this work

I did not name the work just like that « business card» composer, because for most people, especially for those who are far from classical music, the name of one of the most influential composers of all times is primarily associated with the Moonlight Sonata.

The popularity of this piano sonata reached incredible heights! Even now, while typing this text, I just asked myself for a second: "What works of Beethoven could outshine Lunnaya in terms of popularity?" - And you know what's the funniest thing? I cannot now, in real time, remember at least one such work!

Look for yourself - in April 2018, in only one search line of the Yandex network, the phrase "Beethoven Moonlight Sonata" was mentioned in various declensions more 35 thousand once. So that you can roughly understand how large this number is, below I will present the monthly statistics of requests, but for other well-known works of the composer (the requests were compared in the format "Beethoven + Title of the work"):

• Sonata No. 17- 2 392 requests
• Pathetic Sonata- almost 6000 requests
• Appassionata- 1500 requests ...
• Symphony No. 5- about 25,000 requests
• Symphony No. 9- less than 7000 requests
• Heroic Symphony- just over 3000 requests per month

As you can see, the popularity of "Lunnaya" significantly exceeds the popularity of other equally outstanding works of Beethoven. Only the famous "Fifth Symphony" came closest to the mark of 35 thousand requests per month. At the same time, it should be noted that the popularity of the sonata was already at its height. during the life of the composer, about which Beethoven himself even complained to his student, Karl Cerny.

Indeed, according to Beethoven, among his creations were much more outstanding works, in which I personally absolutely agree. In particular, it remains a mystery to me why, for example, the same "Ninth Symphony" on the Internet is much less interested in than "Moonlight Sonata".

I wonder what kind of data we get if we compare the aforementioned frequency of requests with the most famous works others great composers? Let's check, since we have already started:

• Symphony No. 40 (Mozart)- 30 688 requests,
• Requiem (Mozart)- 30,253 requests,
• Hallelujah (Handel)- just over 1000 requests,
• Concert No. 2 (Rachmaninoff)- 11 991 requests,
• Concert No. 1 (Tchaikovsky) - 6 930,
• Chopin's nocturnes(sum of all combined) - 13 383 requests ...

As you can see, it is very difficult, if not impossible, to find a competitor to the Moonlight Sonata in the Russian-speaking audience of Yandex. I think the situation abroad is not very different either!

One can talk endlessly about the popularity of "Lunnaya". Therefore, I promise that this issue will not be the only one, and from time to time we will supplement the site with new interesting details related to this wonderful work.

Today I will try to tell as succinctly as possible (if possible) what I know about the history of the creation of this work, I will try to dispel some myths associated with the origin of its name, and I will also share recommendations for novice pianists wishing to perform this sonata.

The history of the creation of the Moonlight Sonata. Juliet Guicciardi

In one of the articles, I mentioned a letter from November 16, 1801 the year that Beethoven sent to his old friend - Wegeler(more about this episode of the biography :).

In the same letter, the composer complained to Wegeler about the dubious and unpleasant methods of treatment prescribed for him by the attending physician to prevent hearing loss (let me remind you that Beethoven by that time was not yet completely deaf, but had long ago discovered that he was losing his hearing, and Wegeler, in his In turn, he was a professional doctor and, moreover, one of the first people to whom the young composer confessed to the development of deafness).

Further, in the same letter, Beethoven talks about “Cute and charming girl whom he loves, and who loves him " ... But then Beethoven makes it clear that this girl is above him in social status, which means that he needs "Actively act" to be able to marry her.

Under the word "act" I understand, first of all, Beethoven's desire to overcome the developing deafness as quickly as possible and, therefore, significantly improve financial situation through more intense creativity and touring. Thus, it seems to me, the composer tried to achieve marriage with a girl from an aristocratic family.

Indeed, even despite the fact that the young composer does not have any title, fame and money could equalize his chances of marrying a young countess in comparison with some potential competitor from a noble family (at least that is how, in my opinion, reasoned young composer).

Who is the Moonlight Sonata dedicated to?

The girl mentioned above was a young countess by name - the piano sonata Opus 27, No. 2, which we now know as the Moonlight Sonata, was dedicated to her.

I'll tell you in a nutshell about biographies this girl, although very little is known about her. So, Countess Juliet Guicciardi was born on November 23, 1782 (and not 1784, as they often mistakenly write) in the town Přemysl(at that time was a member of Kingdoms of Galicia and Lodomeria, and now located in Poland) in the family of the Italian count Francesco Giuseppe Guicciardi and Suzanne Guicciardi.

I do not know about the biographical details of the childhood and early youth of this girl, but it is known that in 1800 Juliet moved with her family from Trieste, Italy to Vienna. In those days, Beethoven was in close contact with the young Hungarian count. Franz Brunswick and his sisters - Teresa, Josephine and Carolina(By Charlotte).

Beethoven was very fond of this family, because, despite their high social status and decent material condition, the young count and his sisters were not too "spoiled" by the luxury of aristocratic life, but on the contrary, they communicated with the young and far from wealthy composer absolutely on equal terms, bypassing any psychological difference in class. And, of course, they all admired the talent of Beethoven, who by that time had already established himself not only as one of the best pianists in Europe, but also quite well-known as a composer.

Moreover, Franz Brunswick and his sisters were into music themselves. The young count played the cello well, and to his older sisters, Theresa and Josephine, Beethoven taught piano lessons himself, and, as far as I know, he did it for free. At the same time, the girls were quite talented pianists - the older sister, Teresa, was especially successful in this. Well, with Josephine, the composer will start a romance in a few years, but that's another story.

We'll talk about the members of the Brunswick family in separate issues sometime. Here I mentioned them only for the reason that it was through the Brunswick family that the young Countess Juliet Guicciardi met Beethoven, since Juliet's mother, Suzanne Guicciardi (Brunswick's maiden name), was the aunt of Franz and his sisters. Well, Juliet, therefore, was their cousin.

In general, having arrived in Vienna, the charming Juliet quickly joined this company. The close relationship of her relatives with Beethoven, their sincere friendship and unconditional recognition of the talent of the young composer in this family somehow contributed to Juliet's acquaintance with Ludwig.

However, unfortunately, I cannot name the exact date of this acquaintance. Western sources usually write that the composer met the young countess at the end of 1801, but, in my opinion, this is not entirely true. At least I know for sure that in the late spring of 1800 Ludwig spent time at the Brunswick estate. The bottom line is that at that time Juliet was also in this place, and, therefore, by that time the young people should have, if not be friends, then at least get to know each other. Moreover, in June the girl moved to Vienna, and, given her close relationship with Beethoven's friends, I very much doubt that young people really did not intersect until 1801.

By the end of 1801, other events are related - most likely, it was at this time that Juliet takes Beethoven's first piano lessons, for which, as you know, the teacher did not take money. Beethoven took any attempts to pay for music lessons as a personal insult. It is known that once Juliet's mother, Suzanne Guicciardi, sent Ludwig shirts as a gift. Beethoven, taking this gift as payment for his daughter's education (perhaps it was), wrote a rather emotional letter to his "potential mother-in-law" (January 23, 1802), in which he expressed his indignation and resentment, made it clear that he was studying with Juliet not at all for the sake of material incentives, and also asked the countess not to commit such acts anymore, otherwise he "Will no longer appear in their house" .

As various biographers note, Beethoven's new student wouldStroi attracts him with its beauty, charm and talent (remember that beautiful and talented pianists were one of Beethoven's most pronounced weaknesses). Moreover, withit is read that this sympathy was mutual, and later turned into a fairly strong novel. It is worth noting that Juliet was much younger than Beethoven - at the time the aforementioned letter was sent to Wegeler (remember, it was November 16, 1801) she was only seventeen years old without a week. However, apparently, the age difference (Beethoven was then 30) did not really bother the girl.

Did the relationship between Juliet and Ludwig come to a marriage proposal? - Most biographers believe that this really happened, referring mainly to the famous Beethoven scholar - Alexandra Wheelock Thayer... I quote the latter (the translation is not accurate, but approximate):

A careful analysis and comparison of both published data and personal habits and hints received over several years in Vienna suggest that Beethoven nevertheless decided to propose to Countess Julia, and that she did not mind, and that one parent agreed to this marriage, but the other parent, probably the father, expressed his refusal.

(A.U. Thayer, Part 1, page 292)

In the quote, I marked the word in red opinion, since Thayer himself emphasized this and emphasized in parentheses that this note is not a fact based on competent evidence, but his personal conclusion, obtained in the course of analyzing a variety of data. But the fact is that it is this opinion (which I am by no means trying to dispute) of such an authoritative Beethoven scholar as Thayer that became the most popular in the writings of other biographers.

Thayer further emphasized that the refusal of the second parent (father) was primarily associated with Beethoven's lack of any rank (probably means "title"), fortune, permanent position etc. Basically, if Thayer's guess is correct, then Juliet's father can be understood! After all, the Guicciardi family, despite the title of count, was far from rich, and the pragmatism of Juliet's father did not allow him to give his beautiful daughter into the hands of an indigent musician, whose constant income at that time was only a patron's allowance of 600 florins a year (and that, thanks to Prince Likhnovsky).

One way or another, even if Thayer's assumption was inaccurate (which, however, I doubt), and the matter did not come to a marriage proposal, the romance of Ludwig and Juliet was still not destined to move to another level.

If in the summer of 1801 young people had a great time in Krompachy * , and in the fall Beethoven sends the same letter where he tells an old friend about his feelings and shares his dream of marriage, then already in 1802 the romantic relationship between the composer and the young countess noticeably fade away (and, first of all, from the girl's side, because the composer is still was in love with her). * Krompachy is a small town in present-day Slovakia, but at that time it was part of Hungary. It housed the Brunswik estate in Hungary, including the gazebo where Beethoven is believed to have worked on the Moonlight Sonata.

The turning point in these relations was the appearance of a third person in them - a young count Wenzel Robert Gallenberg (December 28, 1783 - March 13, 1839), an Austrian amateur composer who, despite the absence of any impressive fortune, was able to attract the attention of the young and frivolous Juliet and, thus, became a rival of Beethoven, gradually pushing him into the background.

Beethoven will never forgive Juliet for this betrayal. The girl he was crazy about, and for whom he lived, not only preferred another man to him, but also preferred Gallenberg as a composer.

For Beethoven, this was a double blow, because Gallenberg's composing talent was so mediocre that it was openly written about in the Viennese press. And even learning from such a wonderful teacher as Albrechtsberger (from whom, I recall, Beethoven himself had previously studied), did not contribute to the development of musical thinking in Gallenbergniya, as evidenced by the obvious theft (plagiarism) by the young count of musical techniques from more famous composers.

As a result, around this time the publishing house Giovanni Cappi finally publishes the sonata Opus 27, no. 2, dedicated to Juliet Guicciardi.

It is important to note that Beethoven composed this work completely not for Juliet... Earlier, the composer had to devote a completely different work to this girl (Rondo "G major", Opus 51 No. 2), the work is much brighter and more cheerful. However, for technical reasons (completely unrelated to the relationship between Juliet and Ludwig), that work had to be dedicated to Princess Likhnovskaya.

Well, now, when again “Juliet’s turn has come”, this time Beethoven dedicates to the girl a completely not cheerful work (in memory of the happy summer of 1801, jointly spent in Hungary), but that very “C sharp minor” sonata, the first part of which has an explicit mourning character(yes, it is "mourning", but not "romantic", as many people think - we will talk about this in more detail on the second page).

In conclusion, it should be noted that the relationship between Juliet and Count Gallenberg reached a legal marriage, which took place on November 3, 1803, but in the spring of 1806 the couple moved to Italy (more precisely, to Naples), where Gallenberg continues to compose his music and even what At that time, he staged ballets in the theater at the court of Joseph Bonaparte (the elder brother of that same Napoleon, at that time he was king of Naples, and later became king of Spain).

In 1821, the famous opera impresario Domenico Barbaya, who directed the aforementioned theater, became the manager of the famous Vienna theater difficult to pronounce name "Kerntnertor"(it was there that the final version of Beethoven's opera "Fidelio" was staged, and the premiere of "The Ninth Symphony" took place) and, apparently, "dragged along" Gallenberg, who got a job in the administration of this theater and became responsible for music archives, well, since January 1829 (that is, after Beethoven's death) he rented the Kärntnertor Theater himself. However, by May of the following year, the contract was terminated due to financial difficulties with Gallenberg.

There is evidence that Juliet, who moved to Vienna with her husband, who had serious financial problems, dared to ask Beethoven financial aid... The latter, surprisingly, helped her with a considerable sum of 500 florins, although he himself was forced to borrow this money from another rich man (I cannot say who it was). Beethoven himself let this out in a dialogue with Anton Schindler. Beethoven also noted that Juliet asked him for reconciliation, but he did not forgive her.

Why was the sonata called "Moonlight"

As the name was popularized and finally consolidated in German society Moonlight Sonata people came up with various myths and romantic stories about the origin of both this name and the work itself.

Unfortunately, even in our smart Internet age, these myths can sometimes be interpreted as real sources that answer the questions of certain netizens.

Due to the technical and regulatory peculiarities of using the network, we cannot filter from the Internet “incorrect” information that misleads readers (perhaps this is for the best, because freedom of opinion is an important part of a modern democratic society) and find only “reliable information ". Therefore, we will only try to add to the Internet a little of the same "reliable" information, which, I hope, will help at least a few readers to separate myths from real facts.

The most popular myth about the history of the origin of the "Moonlight Sonata" (both the work and its names) is a good old anecdote, according to which Beethoven allegedly composed this sonata, being impressed after playing for a blind girl in a room consecrated moonlight.

I will not copy the full text of the story - you can find it on the Internet. I only care about one moment, namely the fear that many people can perceive (and perceive) this anecdote as real story occurrence of the sonata!

After all, this seemingly harmless fictional story, popular in the 19th century, never bothered me until the moment when I began to notice it on various Internet resources, allegedly posted as an illustration true story the origin of the "Moonlight Sonata". I have also heard rumors that this story is being used in a "collection of narratives" in school curriculum in Russian - which means, given that such beautiful legend can easily be imprinted in children's minds, which can take this myth for truth, we just have to add a little credibility and note that this story is fictional.

Let me explain: I have nothing against this story, which, in my opinion, is very nice. However, if in the 19th century this anecdote was the subject of only folklore and artistic references (for example, the picture below shows the very first version of this myth, where her brother, a shoemaker, was in the room with the composer and the blind girl), now many people consider it a real biographical fact, and this I cannot admit.Therefore, I just want to point out that famous story about Beethoven and the blind girl is, though cute, but still fictional.

To verify this, it is enough to study any textbook on Beethoven's biography and make sure that the composer composed this sonata at the age of thirty, while in Hungary (probably partly in Vienna), and in the aforementioned anecdote the action takes place in Bonn, a city that the composer finally left. at the age of 21, when there could be no talk of any "Moonlight Sonata" (at that time Beethoven had not yet written even the "first" piano sonata, let alone the "fourteenth").

How did Beethoven feel about the name?

Another myth associated with the title of Piano Sonata No. 14 is the positive or negative attitude of Beethoven himself towards the title "Moonlight Sonata".

I explain what it is about: several times, while studying Western forums, I came across discussions where one user asked a question like the following: "How did the composer feel about the title" Moonlight Sonata. " this question, as a rule, were divided into two camps.

• The participants of the "first" responded, they say, Beethoven did not like this name, in contrast, for example, from the same "Pathetique" sonata.
• The participants in the "second camp" argued that Beethoven could not in any way relate to the name "Moonlight Sonata" or, even more, "Moonlight Sonata", since these names occurred a few years after death composer - in 1832 year (the composer died in 1827). At the same time, they noted that this work, indeed, was quite popular already during Beethoven's life (the composer did not even like it), but it was about the work itself, and not about its name, which could not have been during the composer's life.

On my own behalf, I note that the participants in the "second camp" are closest to the truth, but there is also an important nuance here, which I will tell about in the next paragraph.

Who came up with the name?

The above-mentioned "nuance" is the fact that in fact the first connection between the movement of the "first movement" of the sonata and the moonlight was nevertheless drawn during Beethoven's lifetime, namely in 1823, and not in 1832, as they usually say.

It's about the product "Theodore: a musical study", where at one point the author of this novel compares the first movement (adagio) of the sonata with the following picture:

The "lake" in the above screenshot means the lake Lucerne(it is "Firwaldstetskoe", located in Switzerland), but the quote itself I borrowed from Larisa Kirillina (first volume, page 231), which, in turn, refers to Grundman (pages 53-54).

Relshtab's description cited above certainly gave first prerequisites to popularize the associations of the first movement of the sonata with lunar landscapes. However, in fairness, it should be noted that these associations at first did not make a significant pickup in society, and, as noted above, during Beethoven's lifetime, this sonata was still not spoken of as "Moonlight".

Most rapidly, this connection between "adagio" and moonlight began to take root in society already in 1852, when the famous music critic suddenly recalled Relshtab's words. Wilhelm von Lenz(which referred to the very associations with "lunar landscapes on the lake", but, apparently, mistakenly named the date not 1823, but 1832), after which in music society went new wave propaganda of Relshtab associations and, as a consequence, the gradual formation of the now well-known name.

Already in 1860 Lenz himself used the term "Moonlight Sonata", after which this name was finally consolidated and used both in the press and in folklore, and, as a result, in society.

A Brief Description of the Moonlight Sonata

And now, knowing the history of the creation of the work and the origin of its name, you can finally get to know it briefly. I warn you right away: carry out a volumetric musical analysis we will not, because I still cannot do it better than professional musicologists, whose detailed analyzes You can find this work on the Internet (Goldenweiser, Kremlin, Kirillina, Bobrovsky and others).

I will only give you the opportunity to listen to this sonata performed by professional pianists, and along the way I will also give my brief comments and advice for aspiring pianists wishing to perform this sonata. Note that professional pianist I am not, however, I think that for beginners, a couple useful tips I can give.

So, as noted earlier, this sonata was published under the catalog title "Opus 27, no. 2", and among thirty-two piano sonatas it is "fourteenth". Let me remind you that the "thirteenth" piano sonata (Opus 27, no. 1) was published under the same opus.

Both of these sonatas are united by a more free form in comparison with most other classical sonatas, which is clearly indicated by the author's mark of the composer "Sonata in the manner of fantasy" on the title pages both sonatas.

Sonata No. 14 consists of three parts:

1. Slow part "Adagio sostenuto" in C sharp minor
2. Calm "Allegretto" minuet character
3. Stormy and impetuous « Presto agitato "

Oddly enough, but, in my opinion, Sonata No. 13 deviates much more from the classical sonata form than "Moonlight". Moreover, even the twelfth sonata (opus 26), where the theme and variations are used in the first movement, I consider to be much more revolutionary in terms of form, although this work did not receive the mark “in the manner of fantasy”.

For clarification, let's remember what we talked about in the "" issue. I quote:

“The structure formula of Beethoven's first four-movement sonatas was usually based on the following template:

• Part 1 - Fast "Allegro";
• Part 2 - Slow motion;
• Part 3 - Minuet or Scherzo;
• Part 4 - Finals are usually quick. "

Now imagine what would happen if we cut off the first part in this template and start, as it were, with the second. In this case, we have the following three-part sonata template:

• Part 1 - Slow motion;
• Part 2 - Minuet or Scherzo;
• Part 3 - Finals are usually quick.

Doesn't it look like anything? As you can see, the form of the Moonlight Sonata is actually not so revolutionary and in fact is very similar to the form of the very first Beethoven sonatas.

It just feels like Beethoven, while composing this piece, simply decided: "Why don't I start the sonata right away from the second movement?" and turned this idea into reality - it looks like this (at least in my opinion).

Listen to recordings

Now, finally, I propose to take a closer look at the work. To begin with, I recommend listening to the "audio recordings" of Sonata No. 14 performed by professional pianists.

Part 1(performed by Evgeny Kissin):

Part 2(performed by Wilhelm Kempf):

Part 3(performed by Yenyo Yando):

Important!

On the next page we will look at each part of the Moonlight Sonata, where I comment on it along the way.

Beethoven's Moonlight Sonata is a work that has amazed the senses of humanity for more than two hundred years. What is the secret of popularity, unfading interest in this musical composition? Perhaps in the mood, in the feelings that genius puts into his brainchild. And which, even through the notes, touch the soul of every listener.

The history of the creation of the "Moonlight Sonata" is tragic, full of emotions and drama.

The appearance of the "Moonlight Sonata"

The most famous composition appeared to the world in 1801. On the one hand, for the composer, these times are a time of creative dawn: his musical creations are gaining more and more popularity, Beethoven's talent is appreciated by the public, he is a welcome guest of famous aristocrats. But the seemingly cheerful, happy person was tormented by deep feelings. The composer begins to lose his hearing. For a person who previously possessed amazingly fine and accurate hearing, this was a huge shock. No amount of medicine could save the musical genius from unbearable tinnitus. Ludwig van Beethoven tries not to upset his loved ones, hides his problem from them, avoids social events.

But in this hard times the composer's life will be filled with bright colors by the young student Juliet Guicciardi. Being in love with music, the girl played the piano beautifully. Beethoven could not resist the charm of the young beauty, her good nature - his heart was filled with love. And along with this great feeling, the taste of life returned. The composer goes out again and again feels the beauty and joy of the world around him. Inspired by love, Beethoven begins work on an amazing sonata entitled Sonata in the Spirit of Fantasy.

But the composer's dreams of a married, family life failed. The young frivolous Juliet starts a love relationship with Count Robert Gallenberg. The sonata, inspired by happiness, was completed by Beethoven in a state of deep melancholy, sadness and anger. The life of a genius after the betrayal of his beloved lost all taste, his heart was finally broken.

But despite this, feelings of love, sorrow, longing from parting and despair from unbearable physical suffering associated with illness, gave birth to an unforgettable work of art.

Why Moonlight Sonata?

The name "Moonlight Sonata" this famous musical composition acquired thanks to the composer's friend Ludwig Rellshtab. The melody of the sonata inspired him with a picture of a lake with a quiet surface and a boat sailing under the languid light of the moon.

This sonata, composed in 1801 and published in 1802, is dedicated to Countess Juliet Guicciardi. The popular and surprisingly strong name "lunar" was reinforced 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 has been more than one objection to such a name for the sonatas. A. 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 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 the work so beloved by the listeners, without resorting to specifying 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, Beethoven's first deep love passion, 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 continues to delight 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, is rather indifferent to piano music, found in the first movement of the moonlit sonata poetry, 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 his assessment of the "moon" sonata, pays tribute to a multitude of lyrical digressions and recollections, the critic's unusual emotion is felt in this, preventing him from concentrating on the analysis of the subject.

Ulybyshev ranks the "moon" 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 laymen 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,” writes Stasov in his memoirs “School of Jurisprudence Forty Years Ago,” “that same“ dramatic music", About which Serov and I in those days most of all dreamed of and exchanged thoughts every minute in our correspondence, considering it the form into which all music should 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 peaceful, even playful - hope is revived; finally, in the third part - despair, jealousy rages, and everything ends with a dagger strike and death) ”.

Stasov experienced similar impressions from the "moonlight" sonata later, while 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. "

"Moonlight" sonata entered the 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 hearts - feeling manifests itself here as a powerful builder. A unity that 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 cognition on personal experience laws of passionate experiences in general.

In the realistic psychologism of the "moon" sonata - the most important reason for its popularity. And, of course, B.V. Asafiev was right when he wrote: “The emotional tone of this sonata is imbued 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 critical factors, which in the previous sonatas appear more isolated. 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.

Permanent 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 nocturne genre (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 "moon" 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" quint 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 (vol. 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 are on its way. 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 number 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 in just seven measures. Such an acceleration of the rate of development is accompanied by the emergence of new volitional elements of intonation. But the outcome has not been 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 The 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 of 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 at the finale. In "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. Even Liszt noted the extreme difficulty of perfect execution of this part in view of its extreme rhythmic capriciousness. Indeed, already the first four bars contain the contrast of the intonations of the tender 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 always 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 storm of the night", 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 a 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 inner peace... 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, hardening and, as it were, stamping their feet"). Fermata v. 14 is very truthful: so suddenly a man stops for a moment 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 right hand indicates the emergence of a volitional principle.

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, which are 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 strikes 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 sixteenths 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 (activation of the background, modulation) flows into its repetition, and, for the second time, into development. This is an essential point. None of the earlier sonata allegros in Beethoven's piano sonatas have such a dynamic and direct fusion of exposition 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, it is impossible not to 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, features of slowness and prudence. Deliberately restrained and the music of descending sequences at the organ point of the dominant 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.

The new wave, which begins with a quiet side part in the bass and leads to violent rumblings 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 musical thinking... The melodic lines of the "lunar" finale are strict lines of harmonic figuration. Melodic lines of fantasy-impromptu - lines of ornamental playing of triads with secondary chromatic tones. But in this passage of the cadence, the historical connection between Beethoven and Chopin is outlined. Beethoven himself later pays lavish tribute to such tricks.) 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 ordeals (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 "moonlit" 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 remained of the rapturous and disturbing dreaminess of the first part and the deceptive illusions of the second. But passion and suffering dug into the soul with a never-before-unknown strength.

The final victory has yet to be found. In a wild battle, emotions 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 huge step of the "moonlight" sonata towards the deepest humanity, towards the highest truthfulness musical images determined its stage significance.

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

The heroic-dramatic line by no means exhausts all the many-sidedness of Beethoven's searches in the field of piano sonata. The content of "Lunnaya" is related to something else, lyric-dramatic type.

This work has become one of the most amazing spiritual revelations of the composer. In the tragic time of the collapse of love and the irreversible extinction of hearing, he spoke here about himself.

The Moonlight Sonata is one of the works in which Beethoven was looking for new ways to develop the sonata cycle. He named her a fantasy sonata, thus emphasizing the freedom of composition, which deviates far from the traditional scheme. The first movement is slow: the composer abandoned the usual sonata in it. This is Adagio, completely devoid of the figurative-thematic contrasts typical for Beethoven, and this is very far from the first part of the "Pathetique". This is followed by a small Allegretto of minuet character. The sonata form, saturated with extreme drama, is "reserved" for the finale, and it is he who becomes the culmination of the entire work.

The three parts of Lunar are three stages in the process of forming one idea:

• Part I (Adagio) - sorrowful awareness of life's tragedy;
• Part II (Allegretto) - pure joy that suddenly flashed before the mind's eye;
• Part III (Presto) - psychological reaction: emotional storm, burst of violent protest.

That direct, pure, trusting that Allegretto brings with it instantly ignites Beethoven's hero. Having woken up from sorrowful thoughts, he is ready to act, to fight. the last part sonata turns out to be the center of drama. It is here that all figurative development is directed, and even in Beethoven it is difficult to name another sonata cycle with a similar emotional build-up towards the end.

The rebelliousness of the finale, its ultimate emotional intensity turns out to be reverse side the silent sorrow of Adagio. That which is concentrated in itself in Adagio breaks out in the finale, it is the release of the internal tension of the first part (the manifestation of the principle of derivative contrast at the level of the ratio of the parts of the cycle).

1 part

IN Adagio Beethoven's favorite principle of dialogical opposition gave way to lyrical monologue - the one-theme principle of a solo melody. This speech melody, which "sings, weeping" (Asafiev), is perceived as a tragic confession. Not a single pathetic exclamation violates inner concentration, grief is strict and silent. In the philosophical fullness of Adagio, in the very silence of sorrow, there is a lot in common with the drama of Bach's minor preludes. Like Bach, music is full of internal, psychological movement: the size of phrases is constantly changing, tonal-harmonic development is extremely active (with frequent modulations, intrusive cadences, contrasts of the same modes E - e, h - H). Interval ratios sometimes become pointedly sharp (m.9, b.7). The ostinata pulsation of the triplet accompaniment also originates from Bach's free prelude forms, at times coming to the fore (transition to a reprise). Another textured layer of Adagio is bass, almost passacal, with a measured descending step.

There is something mourning in Adagio - the dotted rhythm, which is confirmed with particular insistence in the conclusion, is perceived as the rhythm of the mourning procession. Form Adagio Zx-private developmental type.

Part 2

Part II (Allegretto) is part of the Lunar cycle, like a light interlude between the two acts of the drama, contrasting with their tragedy. It is sustained in lively, serene colors, recalling a graceful minuet with a perky dance melody. The minuet is also typical of the complex 3x-particular form with a trio and a reprise da capo. Figuratively, Allegretto is monolithic: the trio brings no contrast. Throughout the Allegretto, Des-dur is preserved, enharmonically equal to Cis-dur, the key of the same name of Adagio.

The final

The extremely tense finale is the central part of the sonata, the dramatic culmination of the cycle. In the ratio of the extreme parts, the principle of derivative contrast was manifested:

• with their tonal unity, the color of the music is sharply different. Muffiness, transparency, "delicacy" of Adagio is opposed by the frantic sound avalanche of Presto, saturated with sharp accents, pathetic exclamations, emotional explosions. At the same time, the extreme emotional intensity of the finale is perceived as the tension of the first part that broke through in all its might;
• the extreme parts are combined with an arpeggiated texture. However, in Adagio, she expressed contemplation, concentration, and in Presto she promotes the embodiment of emotional shock;
• original thematic core main party the finale is based on the same sounds as the melodious, undulating beginning of Part 1.

The sonata form of the finale of "Lunar" is interesting for the unusual correlation of the main themes: the leading role from the very beginning is played by the secondary theme, while the main one is perceived as an improvisational introduction of a toccata character. It is an image of confusion and protest, presented in a rushing stream of surging arpeggio waves, each of which is abruptly cut off by two accented chords. This type of movement comes from prelude improvisational forms. The enrichment of sonata drama with improvisation is observed in the future - in the free cadences of reprise and especially coda.

The melody of the side theme sounds not like a contrast, but like a natural continuation of the main part: the confusion and protest of one theme translates into a passionate, extremely excited statement of the other. The thematicism of the secondary, in comparison with the main, is more individualized. It is based on pathetic, verbally expressive intonations. Accompanied by a side theme, the continuous toccata movement of the main part is preserved. Side key - gis-moll. This tonality is reinforced further in the final theme, in the offensive energy of which the heroic pulse is felt. Thus, the tragic aspect of the finale is revealed already in its tonal plane (the exclusive dominance of the minor key).

The dominant role of the collateral is also emphasized in the development, which is almost exclusively based on one theme. It has 3 sections:

• Introductory: This is a short, total of 6 bars, conduction of the main theme.
• central: the development of a side theme that takes place in different keys and registers, mainly in the low one.
• a great prerequisite background.

The role of the climax of the entire sonata is played by code exceeding development in scope. In the code, similar to the beginning of development, the image of the main party appears fleetingly, the development of which leads to a two-fold "explosion" on a reduced seventh chord. And again there is a side theme. Such a stubborn return to one topic is perceived as an obsession with one idea, as the inability to move away from overwhelming feelings.

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 am inclined 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, excuse me for the detail, defecated. In short, he had a very peculiar relationship with the piano: on top of it lay 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 certainly understand that he was 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 a recognized 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! ..).

That's just good mood the presentiment of trouble was pretty spoiled: 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 had 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 any particular 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 ...