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

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

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

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

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

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

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

Beethoven Sonata No. 4

Brahms. Sonata No. 3, Finale

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

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

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

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

Big offer Supplement

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

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

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

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

The theme of the side part is based on a large sentence in building 2222, it is repeated twice: in the violin part and the piano part. At the same time, the “opposition” does not change either: what the piano sounds in the beginning is transmitted to the violin. This intensifies and deepens the emotional impact on the listener. In general, the use of polyphony in the secondary parts is atypical for Beethoven, and has never been seen in his violin sonatas before.

First conducting the topic Second conducting the topic

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

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

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

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

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

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

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

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

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

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

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

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

The outline of the new theme looks like this:

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

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

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

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

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

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

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

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

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

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

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

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

The French musicologist Lenz dubbed this part "Spring Song" not by chance, in character it would rather fit the 5th "Spring Sonata": very simple, naive, light, it is the exact opposite of the first movement.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

S with sixth Salt. = Da-moll

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

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

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

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

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

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

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

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

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

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

The sonata has four movements:

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

(Wilhelm Kempf)

(Claudio Arrau)

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

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

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

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

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

I. Allegro vivace

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is in F major, which contains a third relationship with the key of the work, A major. A difficult, but beautiful canonic section is also to be found in the development. The reprise contains no codes and the part ends quietly and modestly.

II. Largo appassionato

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

III. Scherzo: Allegretto

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

IV. Rondo: Grazioso

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

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

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

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

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

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

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

DEPARTMENT OF CULTURE OF SAKHALIN REGION

GOU SPU SAKHALIN SCHOOL OF ARTS

COURSE WORK

On the subject "Analysis

musical works "

topic: "Analysis of the final of the First

L. Beethoven's sonatas "

Completed by a V-year student

specialty "Music theory"

Maksimova Natalia

Head Mamcheva N.A.

Reviewer

Yuzhno-Sakhalinsk

WORK PLAN

I INTRODUCTION

1. Relevance of the work

2. Goals and objectives of the work

II MAIN PART

1. A brief theoretical excursion into the topic

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

III OUTPUT

IV APPENDIX-DIAGRAM

V

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

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

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

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

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

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

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

IIMAIN PART.

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

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

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

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

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

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

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

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

EXPOSITION

DEVELOPMENT

GP SP PP ZP

GP SP PP ZP

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

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

The following key selection is typical for the side part:

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

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

The sonata form contains several typical features:

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

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

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

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

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

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

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

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

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

Part II. Lyric center.

Part III. Genre and everyday character.

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

The sonata is usually in three movements.

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

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

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

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

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

1) Textured contrast:

In the lower part there is an active triplet movement.

The top part has a massive chord texture.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Side part of the reprise differs from the side part of the exposure only in tonality.

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

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

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

Output:

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

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

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

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

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

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

LIST OF USED LITERATURE

1. Bonfeld M.Sh.

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

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

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

5. Kyuregyan T.S.

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

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

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

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

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

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

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

Main party (8 + 16 volumes) C-Dur

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

Small development section (14 vol.)

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

Side batch (5t) C-Dur

Final section (8t) C-Dur

Code (4 vol.) C-Dur

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

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

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

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

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

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

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

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

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

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

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

It should be noted that the means intonation unification of the entire section, the Beethoven principle of "growing" all the thematic material of the section from one thematic "impulse" appears.

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

They consist of several "constituent parts":

1.Available upward movement per second

2.Rhythm: quarter (strong beat) - eighth

3.Quarte Downward Leap for Beat

4.Dotted Rhythm for Strong Beat

5 chordal choral texture

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

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

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

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

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

A holistic analysis of the content and form of the sonata Op. 31 No. 2 in D minor (No. 17)

Piano Sonata in D minor, op. 31 no. 2, was written by L. van Beethoven in 1802, together with sonatas no. 16 and no. 18. Unofficial titles: "The Tempest", "Sonata with Recitative", "Shakespeare's Sonata". It is believed that Sonata No. 17 is a psychological portrait of the composer himself. Unlike other sonatas, it is performed without dedication. 1802 - a period of tragic reflections, gloomy feelings, thoughts of suicide due to deafness, the collapse of hopes for personal happiness. It was in 1802 that the composer wrote the famous "Heiligenstadt testament" (see Appendix 1). After the death of L. van Beethoven, several documents were found in a secret drawer of his closet, which he apparently attached special importance to. One of these documents was a piercing letter written by him in October 1802 in the village of Heiligenstadt near Vienna and called the "Heiligenstadt testament."

The dramatic outlook appeared in the seventeenth sonata not only in the figurative and intonation plan, but also in the freer, improvisational logic of constructing the musical form, the through development of thematicism. This sonata continues the line of sonatas-fantasies with intense lyric-dramatic development, therefore there are no clear cadences between the sections of the sonata form, most often the end of one section is at the same time the beginning of another. Such a combination is possible thanks to the musical characteristics of the sonata themes, which often begin and end with dominant harmony. It should be said that tense dominant harmony (usually in the form of a seventh chord) is used here more often than stable harmonies, which creates a strong tension and aspiration of the sonata's musical movement. In this sonata, as well as in some of the previous ones, L. van Beethoven again returns to pathetic moods, to the epic and majestic flow of images of his first allegro and largo. It is remarkable that more and more new searches for dramatic expressiveness make L. van Beethoven, as it were, overstep the bounds of purely instrumental techniques. The whole piano palette, even enriched with echoes of symphonic timbres, is not enough for him. And in the development of the allegro of this sonata, a recitative of a vocal type appears, so expressive that we seem to hear a word that has not yet been uttered, which will sound many years later in the vocal part of the Ninth Symphony. The melodic material of the middle part of adagio is also noted with extraordinary expressiveness. The melody takes place against the background of short tremolating timpani beats, like a living voice, stern and persuasive. These speech intonations are replaced by a spontaneous beginning in a wonderful ending, which creates the impression of either a light movement of the wind, or a stormy whirlwind.

Sonata No. 17 continues the line of sonatas-fantasies: a lyric-psychological, passionate tone of expression, psychological contrasts of a high level of tension, techniques of improvisational, fantasy music, but unlike Sonata No. 14, it has no title "Sonataquasiuna Fantasia". The content of the sonata is the lyrics of a passionate, stormy, dramatized sound, a return to pathos, but with psychological comprehension. The cycle has three parts, outwardly classical structure: Largo - Allegro, d-moll; Adagio, B major; Allegretto, d-moll. Each part is written in the sonata form of various options, complicated by signs of other forms: fantasy (elements, structure, methods of development), variability (all themes in all parts are based on common elements as options), end-to-end form (there are no exact reprisals).

The first movement is a complete sonata form, but thanks to individual mathematics, it has a number of sharply innovative musical ideas in drama, composition, and language. The main part (measures 1 - 20) in the exposition is based on two contrasting elements: arpeggiato and ario-recitative descending second intonation-sighs. The first construction, d-moll, starts with a dominant function. The second construction of the main part is a variant of the initial one, but in the key of F-major, with the expansion of the structure and intonation and modal-tonal development. These two constructions have a kind of introductory meaning - in the course of a free improvisational presentation, a gradual crystallization of thought occurs. It acquires a clear design only in the third structure, which plays a connecting role, but, despite this, it does not have a single stable, in the full sense of the word, expositional structure. The image is revealed from the very beginning in the process of growth and development. The main batch has the form of a period, which consists of two sentences. The first sentence is 6 measures (2 + 4) with a cadence on the dominant, the second sentence is 14 measures (2 + 12) with a cadence on the tonic d-moll that invades the connecting section. The period with expansion, since the second sentence expands in the cadence zone by 6 measures due to the dramatic recitative against the background of the cadence quarter-text chord. The first sentence consists of two phrases - one phrase is 2 measures, and the second is 4 measures. The second sentence also consists of two phrases - one is 2 measures, and the second is a long one of 12 measures. This phrase is built on a number of motives, which are sequentially repeated in an upward direction, then in a downward and last chromatized final motive in the main part. This period has a type of scale-thematic structure - summation. The period has a type of repeated structure, since the beginnings of two sentences are the same with the only difference that they sound in different keys. Both sentences consist of two parts based on intonationally contrasting elements.

The first phrase of the main theme (2 measures) is based on the first element - an arpeggiated ascending sixth chord (dominant in the first sentence, in the second on the dominant to III degree). By nature, he is interrogative-contemplative. In its genre foundations, signaling (more precisely, the sound of fanfare) and declamation can be designated. Although the genre basis of the fanfare is very veiled by the pianissimo dynamics and the improvisational free rhythm, the declamation sounds like a quiet question hanging on the dominant.

The second construction of the main theme, dramatic in nature, consists of the second and third elements. The intonation of the second element is directed downward. In the genre foundations, declamation is clearly manifested, especially lamento intonation - a second descent with an emphasis on the first note - from this mini-intonation, the entire melodic line of the first sentence is completely built, outlining the Phrygian turnover in minor with basic sounds, first from A, then from D. And in the second sentence, the rhythmic division of two eighth notes is preserved, and the melodic movement is dynamized, large leaps appear, wave-like rising to the culmination in the 13th bar and breaking down to the tonic. Also in this part of the theme, the third element appears, the genre basis of which is associated with a march based on a uniform chord accompaniment. In the second sentence, this chord accompaniment on the weak beats (2 and 4) gives the opposite effect of "out of breath".

The harmony of the main theme is simple, set out in clear chords, is built in the first sentence on the passing revolutions from D6 to T6, in d-moll and g-moll and stops at the dominant, and in the second sentence on the deviation in III, the subdominant and the use of the tense harmonies of the Neapolitan sixth chord and diminished seventh chords. Period with a deviation, since the second sentence begins in a new key, but towards the end returns to the main key. After the composer has outlined the main theme, he begins to develop the main theme, or rather a modification of its first element. And this is already the beginning of the connecting section of the exposition.

The assignment of the main theme of the seventeenth sonata to the chant type may cause controversy. Shouldn't initio be seen in its recitative two-bar. Yes, it has the weight, the aspiration inherent in initio, but there are also contraindications to this. First of all, the pace of Largo. At such a pace, even a short thematic turn, moving along the sounds of the triad, can appear chanting - it all depends on the nature of the performance. It should not be overlooked that in the reprise the chanting tones of Largo continue with the recitative proper, and their nature is revealed. The formal feature that distinguishes chant from initio is also important: the latter, as it was clarified above, moves after the first sentence, while the chant is repeated only after the attached second element in the next sentence of the period. This is exactly the structure of the topic here: ab + a1b1.

Moving the chant in the second sentence into parallel is unusual for this type of theme, but there is still something unusual in this theme: the beginning of the main part with a dominant chord is the first time in the history of the sonata form.

The connecting part (21-40 measures) has a common character with the main part, but a more agitated image, a triplet rhythm, and the roll-over of two bright motifs - bass and upper voice create a dialogue of two contrasting principles typical for L. van Beethoven. The ascending movement along the sounds of decomposed chords is a strong-willed, objective proclamation and lamentous lamentable, chanting phrases based on subjective, emotionally expressive second intonation. Never before has the thematism of the connecting part been distinguished in L. van Beethoven's sonatas by such a bright individuality, convexity and functional significance in the further development of sonata drama. Written in the key of d-moll with modulation in a-moll. The connecting section is a development of the main theme based on the dialogue in different registers of intonations of the first two elements of the main part and modulation into the key of the dominant. Structurally, this section takes 20 bars and is built according to the principle of splitting into smaller and smaller constructions (4 + 4 + 2 + 2 + 2 + 2 + 2 + 1 + 1), and sequentially rising upward. The tension of the section is also given by triplet harmonic figurations.

It is interesting to trace the transformation of intonations: in the first fanfare intonation, when transferred to a minor on forte, the declamatory component is intensified, now it sounds like an exclamation. The second intonation, due to the appearance of the off-beat, becomes more melodious, but in the process of development it concentrates in one sound-exclamation. The tonal plan of the section represents modulation from d-minor to a-minor, through a brightly tense diminished chord of double dominant to a-minor. The construction is developing in nature. “This is where the real drama begins,” writes Romain Rolland. Indeed, the roll call of two voices is a dialogue between two participants in the action. The "advance" of the lower voice and the "retreat" of the upper voice are almost evident. The fact that we recognize in these voices the transformed elements of the main party serves as another argument in favor of interpreting them as “characters”. Here the illusion of combining functions is created, since in the main party these "persons" are only preparing for action, which gives the initial stage of the exposition the meaning of a dramatic introduction; the action itself begins with a linking party. The intensity of passions in this section of the exposition reaches its climax at the climax, where the motive of the upper voice is compressed to one sound, which contains the richest inner content. Such a condensation of the intonation space leads to the fact that the expression contained in it requires relaxation, and as a result of the straightening of the intonation space, the moment of combining the functions of development and presentation arises - the theme of a side part is born.

The side part (41 - 54 measures) is a new version of the development of the lyrical elements of the main part. The a-minor tonality testifies to the strong tonic-dominant connection between these themes. Like the main part, the side part begins with a dominant function, which maintains a tense tone of presentation. The arious-monological type of melody creates a strong contrast in relation to the previous thematicism, and this, in turn, sharpens and maximally concentrates attention on the events taking place in the exposition. The theme of the side part grows out of the lamento intonations of the main theme, maintaining its characteristic rhythm. Her small phrases sound more begging, doomed than the striving unified line in the main party. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The first two sentences consist of two motives of 1 bar each and a phrase of 2 bars. The third sentence consists of 2 motives, 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins in the same way only from different sounds. The period is one-tone. It has no modulations or deviations. The 1st and 2nd cadences end in the root note, and the final cadence ends in the tonic sixth chord. The harmony is simple, consisting of a tonic and a dominant (to a greater extent), set forth by melodic figuration around the V degree, with the inclusion of the sounds of the septima and nona. The theme of the side part unfolds in short agitated tunes, the repetitions of which may have been generated by the imitation system. It is significant that the theme of the side part is introduced as if "on the fly" and sounds on the dominant organ point of the dominant tonality, that is, on the harmony of the usual precursor to the side part. The reason for this is the activity of dramatic action, as if compressing the intonation space in all its parameters.

The final part (bars 55 - 92) contains intonational elements of all the previous images, thus, as if summing up the first expositional stage in the development of the action. It also ends in a very significant way: on the dominant to the main tonality (the sound of la), as if opening the way to a new stage of development. It is written in the key of a-minor in the form of a period with additions. Has a scale within 38 bars. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of two measures and phrases of 4 measures. Ends with a half cadence on the tonic triad. It is built on the alternation of a tonic a-minor sixth chord and a Neapolitan sixth chord. Already in this section, a rhythmic figure with an emphasis on the second note, the opposite of the lamento rhythm, arises. The second sentence has a length of 6 measures, consists of three phrases of 2 measures each. In the next sentence, this figure is clearly manifested in a downward movement in parallel thirds, reminiscent of the main party. The time signature is 6 bars, consists of 6 motives, 1 bar each. The fourth sentence - 18 measures, consists of 4 motives of 2 measures each and a large phrase of 10 measures. Development slows down here. In this section, against the background of whirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian revolution from the note E. The same turn in octave unison completes the exposition. The final batch is a period of unrepeatable construction. Each sentence has its own new theme, not like the previous one. Monochromatic. The final cadence ends in D to the root key. Calming down is carried out on the alternation of the harmony of the cadence quart-text chord and the dominant, which also violates the stereotype familiar to L. van Beethoven himself. The more significant is the moment of the tonic in A minor. Behind her deep serenity is the result of the drama she experienced.

The unity of the exposition is very clearly expressed in the system of cadences dividing the parts of the sonata exposition: 20 bars of the main part - the invading cadence in a-minor; 41 bars before the intruding cadence in a minor; after 24 bars, the second cadence in a minor, with a stop. The system of cadences comes into conflict with the thematic material, because the connecting part is all based on the main theme and therefore, as it were, gives its continuation, and the secondary part is separated: 40 bars are main and connecting, 45 bars are secondary and final. Such a mismatch of structures reflects the dialectic of Beethoven's sonata form; in the "dispute" of different principles, the dynamism of the form and its perception are born, since, while listening, we notice this mismatch.

So, in the exposition of the first movement of the sonata, contrasting elements are contrasted only at the level of the thematic core and the theme of the main part as a whole. The rest of the stages of movement at the exposure level only use the result of these contrasting contrasts. This is where Beethoven's dramatic efficacy is clearly manifested.

Form-scheme 1. 2 Exposition of the first part of the sonata op. 31 # 2 (# 17)

The development is based on the first motive of the main party and the dialogizing connecting party. At the end of the development, the dominant background. Development can be divided into three sections. The first (bars 93-98) represents the fanfare element of the main theme. It is performed three times (D6, dis um6, Fis6), providing colorful juxtapositions of the transition to the fis-moll key of the second section. The first section takes 6 measures - it includes 3 phrases of 2 measures each, built according to the type of periodicity. However, the forces of contrast in the core of the main party continue to be felt. At the beginning of the development, a polarization of contrast occurs: the three quiet arpeggios of the first element (their tonal-harmonic positions extremely push the boundaries of further development) corresponds to the theme of the connecting part - the most dramatically active element of the exposition, reaching here, thanks to a higher compositional level, extreme intensity. The second section (99-120 bars) continues the line of development of the connecting section of the exposition, actually repeating it in a more dramatic form in fis-moll and leading to a culmination in 119-120 bars. The section takes 22 bars and consists of two sentences and 6 phrases and is built according to the type of splitting. The third section (measures 121-142) is a prelude to the beginning of the recapitulation, based on the dominant harmony to d-moll and swirling intonations that create the effect of slowing down the movement. The development ends with a series of chords on the dominant bass, outlining the upper tetrachord of the harmonic d-moll, and a descending octave monologue, anticipating the recitative of the main part in the reprise.

So, the second section of the first part of the seventeenth sonata by L. van Beethoven has a developmental character. It is based on the development of the first element of the main party and the connecting section of the exposition. It ends with a prejudice to a reprise on the dominant function to the main key. The development of the first movement of the seventeenth sonata by L. van Beethoven is an example of the existence of a form of a moving period (sentence), but it passes into the free development of the developmental type itself. This applies to the greatest extent to the development of dramatic content, developing from large structures to small ones and receiving generalization in a vivid melodic form. Such a decrease in structural elements plays an inhibitory role, being located at the pre-reprocessing organ point.

Form-scheme 2. 2 Development of the I part of the sonata op. 31 # 2 (# 17)

Reprise. All themes in it are modified, especially the main part, to which new elements are added: two expressive lyric and psychological recitatives, presented in one voice, like a speech in the first person. Hence the name of the sonata - "sonata with recitative". The side part and others are already set out in the main key of d-moll with deviations. The main part and the connecting section in the reprise are carried out with changes. These sections are the culminating area of ​​the form. The recitative in the reprise, as an element of the through dramatic action in the zone of the main party, also leads to the renewal of the connecting one. Only the secondary and final parts are given in accordance with the norms of the sonata form, due to which the overall movement is evened out.

In the main part (bars 143-149), the main emphasis is on the dramatic recitative, which is an extension of the first element (arpeggiated sixth chord) of the main part of the exposition. The main part is written in the key of D minor and in the form of the period. The period is 16 bars. The first sentence increases to 10 bars. Of these, 6 measures are a long phrase, then 4 measures are the next phrase with a half cadence on the dominant. The second sentence consists of only one phrase (6 measures), which breaks off at the recitative, passing immediately to the ostinata chords of the connecting section. There is no final cadence. The period is of the type of crushing with closure. The period is one-tone, repeated structure, since both sentences begin in the same way, only from different sounds.

The connecting section (measures 150 through 170) is reduced to 12 measures and new material is introduced into it, retaining a distant connection with the first (fanfare) and third (chord) elements of the main part. The entire section is built as a dialogue in two measures of these transformed intonations with the structure (4 + 4 + 4) - the type of periodicity. The first element, which was characterized by the movement of the chord sounds upwards - here it becomes violent waves of arpeggios across the entire range. From the connecting section of the exposition, only the triplet rhythm is preserved in the recapitulation, but in the last beat it also changes to faster durations (sixteenths or sextuples). The third element, marching chord sounds, is manifested in its extreme quality - in the form of an even, ostinata repetition of four chords in a low register. This is the culminating section of the form, where the main (personal) thematic is destroyed, it disappears, and the rest of the elements acquire the maximum degree of generalization, impersonality. In tonal terms, the movement goes through fis-moll, G-Dur and two diminished chords leading to a side part in the main key.

The side part (measures 171 to 184) is played in the main key (d-moll) practically unchanged. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The signs of such a period are that it has 3 cadences distant from each other. The first two sentences consist of two motives of 1 bar each and a phrase of 2 bars. The third sentence consists of 2 motives, 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins in the same way only from different sounds. The period is one-tone. It has no modulations or deviations. The 1st and 2nd cadences end in the root note, and the final cadence ends in the tonic sixth chord. The harmony is simple, consisting of the tonic of the idominant (to a greater extent), set forth by melodic figuration around the V degree, with the inclusion of the sounds of the septima and nona.

The final section (from measures 185 to 228) is also carried out practically unchanged. Several measures are added only at the end - these are figurations-waves on the tonic triad in the bass against the background of a sustained tonic sixth chord, as if the first element of the main part is concentrated in the main key. It is written in the key of d-moll in the form of a period with additions. Has a scale within 44 measures. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of two measures and phrases of 4 measures. Ends with a half cadence on the tonic triad. It is built on the alternation of a tonic a-minor sixth chord and a Neapolitan sixth chord. The second sentence has a length of 6 measures, consists of three phrases of 2 measures each. In the next sentence, this figure is clearly manifested in a downward movement in parallel thirds, reminiscent of the main party. The time signature is 6 bars, consists of 6 motives, 1 bar each. The fourth sentence - 22 measures, consists of 4 motives of 2 measures each and a large phrase of 16 measures. Development slows down here. The period of unrepeatable structure, since each sentence has its own new theme, not similar to the previous one. Monochromatic. The final cadence ends at the root root. The coda is replaced by a long-held tonic harmony: since it hardly sounded throughout the entire Allegro, its impact is especially significant. It concentrates on everything that happens in the first part and hears the answer to all the questions that have arisen in Allegro, the answer is deep, not reducible to any unambiguous formula.

As a result, we can say that the reprise of the seventeenth sonata by L. van Beethoven has the main part, which is modified, introducing a recitative to the first element, written in the form of a period. The connecting section, which is built on the new material, only slightly resembles elements of the main batch and the side batch. The side game is repeated unchanged and written in the form of a 3-sentence period. The final section is also carried out unchanged, only with the addition of several measures at the end, which replace the coda and are built on the root and tonic sixth chord. Written in the form of a period with additions.

Form-scheme 3. 2 Reprise of the first movement of the sonata, op. 31 # 2 (# 17)

As a result of the analysis, it can be concluded that there are significant changes in the reprise and the exposition, primarily in the sphere of the main party, but also stable elements in the sphere of the connecting and secondary party. In the sonata allegro of the seventeenth sonata there are only three full cadenzas - the ending of the main part (at the level of the exposition), the exposition (at the level of the form as a whole), the entire sonata form (at the level of the sonata cycle). In other words, only the initial exposition sections of each of the three levels are clearly completed, the rest of the form is blurred by the continuity of development, the source of which is dramatic effectiveness. But in this case, the implementation of this principle is combined with another major formative trend. In this continuous flow of musical movement in the absence of contrasting oppositions outside the main part, the principle of self-movement is manifested, which played a leading role in J.S. Bach and many other composers of the Baroque era and became the most important factor in shaping in the late period of L. van Beethoven's work. The first movement of L. van Beethoven's sonata No. 17 has a high degree of theatricality, a bright, dramatic development of the main intonations. This is achieved due to the through development of intonations and the dialogic nature of their combination with each other. When L. van Beethoven was asked what his music was about, he replied: "Reread The Tempest by W. Shakespeare."

The second part of. Adagio. B major, sonata form without elaboration. Like the first movement, it starts with an arpeggio. The main theme uses the method of dialogue-roll call. This movement is one of two examples of a sonata form without development in the group of works being analyzed - already from the second sentence of the main theme it suggests the possibility of variation, and it is realized in a recapitulation. The reprise as a whole also appears as a reprise-variation. Thus, the form of the sonata without elaboration also obeys the basic principle of variation. In the side theme of Adagio, with its reliance on the fifth and singing of the III step from below and I and VI from above, one can hear Russian intonations. The second movement from the seventeenth sonata obeys the general principle of Beethoven's slow movements in the sense of holding the main theme in the code (measures 89 - 98). By invisible ways, the connection with the side part of the first part, full of nagging melancholy and mournfulness, is carried out.

The third part. Allegretto. d-moll. Sonata form based on figurative and musical-thematic unity. A new version of the development of the main thematic intonations, closeness to the genre of prelude. In the finale of the seventeenth sonata, the unity of movement of the main and secondary part is facilitated by the fact that the latter begins on the dominant from the dominant, demonstrating its striving forward, towards the cadence of the exposition. Fluidity is a technique that applies, of course, to the entire finale. It is necessary to highlight a very important structural feature - holding the main theme in the code as a finishing factor. It creates an inclination towards the rondo form, which has already been encountered in its various manifestations. If the inclination to sonata is formed at the beginning of the form, in its expositional section, then the inclination to rondo in works with the sonata form is noticed towards the end, after the sonata structure has been determined: exposition - development - reprise. The conclusion of the main topic is then rounding off. But this apparently also reflects the connection with the long tradition of writing finals in the form and even in the genre of rondo. It was her that L. van Beethoven often followed, especially in the early period of his work. This tradition, obviously, left its mark on the sonata finals.

The inclination to rondo is enhanced if the main theme with the preservation of the structure (in whole or in part) is also carried out in development, then a total of 4 conductions are formed, clearly showing the rond-like in sonata form. The finale of the seventeenth sonata also gives an example of how the main theme is carried out in the code. It is curious that the conduct of the main theme in the code completely coincides with the expositional one, while the reprisal one differs from it. It is important to emphasize the similarity of the extreme passages: they border the form, thus reminding the principle of dacapo, which was found in various ancient forms.

Typical features of the classical sonata form:

The exposition mainly consists of tonic-dominant turns. The subdominant often appears only in the cadence (since it can shake the primacy of the tonic), deviations are rare.

The main part determines the main content of the musical form. It, as the core of the entire work, in most cases is carried out without major changes: in the exhibition for the first time and in development it develops. The main part always ends in the main key, with a cadenza on the root or dominant.

The linking party is a transitional section. In it, gradual intonation preparation for the side part is carried out.

The form of the side batch is free and allows for many variations. However, it should be noted that under the influence of relative harmonic freedom, these forms often lose their squareness due to additions, extensions, etc. Often there is a rhythmic renewal of the side part. The durations are enlarged and the movement slowed down. Movement activation and shorter durations are less common.

The final part should harmoniously consolidate the new key. Often there is a multiple repetition of the cadence turn or the presence of a tonic organ point.

Development is a big move between the extreme points (exposure and recap). During the development process, modulations occur in various keys. The path of these modulations, like many other development qualities, is not regulated. There are two main types of tonal movement possible. If the development started in the key of the end of the exposure (or in the key of the same name) - gradual modulations to more and more distant from the original key and at the end of the development return to the main key.

The reprise - the third major section of the sonata form - reduces the tonal difference of the exposition to unity (the side and final parts this time are presented in the main key or approaching it). Since the binder batch must lead to a new key, it usually undergoes some kind of processing.

Code is an additional section of the form. Its function is a generalization of the material, the approval of the result, the "conclusion" of the entire work.

The individual features of the sonata form of the sonata op. 31 No. 2 (No. 17):

The main part of the exposition is built on two elements (like a question - an answer). The main emphasis is on the dramatic recitative (for the first time in music, Beethoven uses it in the theme of the main part), which is an extension of the first element (arpeggiated sixth chord). The second element consists of only one phrase (6 measures), which breaks off at the recitative, passing immediately to the ostinata chords of the connecting section. There is no final cadence. In the main part of the exposition of the seventeenth sonata, there is a deviation from the main key to the parallel F-dur. The main part is written in the form of a period. Basic tonality in d-moll.

The connecting section is built on the elements of the main batch. Written in the key of d-moll with modulation in a-moll. The theme of the linking party is brightly individual, but has a ntonational affinity with the main party.

The theme of the side part unfolds in short agitated tunes and at an allegro tempo. Carrying out its second new theme represents a new version of the development of the elements of the main party. It has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). Written in a-minor key.

The final cadence ends in D to the root key. In this section, against the background of whirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian revolution from the note E. The same turn in octave unison completes the exposition. The final part is written in a-minor key and has the form of a period with additions.

The development is based on the development of the first element of the main batch and the connecting section. The tonal movement of the development of the first movement of Sonata No. 17 is presented in such a way that if the development began in a distant key by means of juxtaposition, then there is a gradual return to the main key. It ends with a prejudice to a reprise on the dominant function to the main key.

The recitative has a modified main part - a recitative is introduced to the first element. The connecting party only slightly resembles the elements of the main party - it is built on new material. The side and final games are played practically unchanged. Basic tonality in d-moll with deviations.

The coda is replaced by a long-held tonic harmony: since it hardly sounded throughout the entire Allegro, its impact is especially significant.

The individuality of this sonata is emphasized above all by the unique, vividly expressive, inimitable, thematic appearance of each of its sections.