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

Kazimova Olga Alexandrovna,

Concertmaster, MBU DO "Chernushinskaya Music School"

Beethoven is the last composer of the 19th century for whom the classical sonata is the most organic form of thinking. The world of his music is impressively diverse. Within the framework of the sonata form, Beethoven was able to subject the diverse types of musical thematics to such freedom of development, to show such a vivid conflict of themes at the level of elements, which composers of the 18th century did not even think about. In the early works of the composer, researchers often find elements of imitation of Haydn and Mozart. However, it cannot be denied that in the first piano sonatas of Ludwig van Beethoven there is originality and originality, which then acquired that unique look that allowed his works to withstand the most severe test - the test of time. Even for Haydn and Mozart, the piano sonata genre did not mean so much and did not turn into either a creative laboratory or a kind of diary of intimate impressions and experiences. The uniqueness of Beethoven's sonatas is partly due to the fact that, trying to equate this previously chamber genre with a symphony, a concerto, and even a musical drama, the composer almost never performed them in open concerts. Piano sonatas remained for him a deeply personal genre, addressed not to abstract humanity, but to an imaginary circle of friends and like-minded people.

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

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

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

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

The piano sonata was for Beethoven the most direct form of expression of the thoughts and feelings that agitated him, his main artistic aspirations. His attraction to the genre was particularly enduring. If symphonies appeared with him as a result and generalization of a long period of searching, then the piano sonata directly reflected the whole variety of creative searches.

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

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

The themes characteristic of Beethoven, the manner of their presentation and development, a dramatized interpretation of the sonata scheme, a new cue, new timbre effects, etc. first appeared in piano music. In the early Beethoven sonatas, there are dramatic "dialogue themes", and recitative recitation, and "exclamation themes", and progressive chord themes, and the combination of harmonic functions at the moment of the highest dramatic tension, and consistent motive-rhythmic compression, as a means of strengthening the internal tension, and a free varied rhythm, fundamentally different from the dimensional dance periodicity of the music of the 18th century.

In his 32 piano sonatas, the composer, with the greatest penetration into the inner life of a person, recreated the world of his experiences and feelings. Each sonata has its own individualized interpretation of the form. The first four sonatas are in four movements, but then Beethoven returns to his typical three-movement form. In the interpretation of the side part of the sonata allegro and its relationship with the main part, Beethoven developed in a new way the principles of the Viennese classical school that had been established before him.

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

Already in the 1st sonata (1796) for pianoforte (op. 2 No. 1) he brought to the fore the principle of contrast between the main and side parts as an expression of the unity of opposites. In the first sonata f-moll, Beethoven begins a line of tragic and dramatic works by Beethoven. It clearly shows the features of a "mature" style, although chronologically it is entirely within the early period. Its first part and finale are characterized by emotional tension and tragic sharpness. The Adagio, transferred from an earlier work, and the minuet are also characterized by features of a "sensitive" style. The novelty of the thematic material attracts attention in the first and last parts (melodies built on large chord contours, "exclamations", sharp accents, jerky sounds). Due to the intonational similarity of the theme of the main part with one of the most famous Mozart themes, its dynamic character comes through especially clearly (instead of the symmetrical structure of the Mozart theme, Beethoven builds his theme on an upward movement to a melodic climax with a "summing" effect).

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

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

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

One of Beethoven's powerful means of musical development is harmony. The very understanding of the boundaries of tonality and the scope of its action is more prominent and wider in Beethoven than in his predecessors. However, no matter how distant the modulation scales are, the attractive force of the tonic center is nowhere and never weakened.

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

The psychology of the new man, liberated from feudal fetters, is revealed by Beethoven not only in a conflict-tragedy plan, but also through the sphere of high inspirational thought. His hero, possessing indomitable courage and passion, is endowed at the same time with a rich, finely developed intellect. He is not only a fighter, but also a thinker; along with action, he has a tendency to concentrated reflection. Not a single secular composer before Beethoven achieved such philosophical depth and scale of thought. In Beethoven, the glorification of real life in its multifaceted aspects was intertwined with the idea of ​​the cosmic greatness of the universe. Moments of inspired contemplation in his music coexist with heroic-tragic images, illuminating them in a peculiar way. Through the prism of a sublime and deep intellect, life in all its diversity is refracted in Beethoven's music - stormy passions and detached dreaminess, theatrical dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life...

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

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

Beethoven improvised in various musical forms - rondo, variation, but most often in the sonata. It was the sonata form that best corresponded to the nature of Beethoven's thinking: he thought "sonata", just as J.S. Bach, even in his homophonic compositions, often thought in terms of fugue. That is why, among the entire genre diversity of Beethoven's piano work (from concertos, fantasies and variations to miniatures), the sonata genre naturally stood out as the most significant. And that is why the characteristic features of the sonata permeate Beethoven's variations and rondos.

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

Beethoven's pianism is the pianism of a new heroic style, ideologically and emotionally rich to the highest degree. He was the antipode of all secularity and refinement. He stood out sharply against the backdrop of the then fashionable virtuoso direction, represented by the names of Hummel, Wölfel, Gelinek, Lipavsky and other Viennese pianists who competed with Beethoven. Beethoven's playing was compared by his contemporaries to an orator's speech, to a "wildly foaming volcano". She struck with an unheard-of dynamic pressure and had little regard for external technical perfection.

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

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

The first piano sonata f - moll (1796) begins a line of tragic and dramatic works. It clearly shows the features of a "mature" style, although chronologically it is within the framework of the early period. Its first part and finale are characterized by emotional tension and tragic sharpness. Adagio reveals a number of beautiful slow movements in Beethoven's music. Here the final plays the role of a dramatic peak. The affinity of intonations in contrasting themes (the secondary theme reproduces the same rhythmic scheme as the main one, on the opposite melodic movement), the purposefulness of development, the sharpness of contrasts - all this already significantly distinguishes the First Sonata from the Viennese clavier style of Beethoven's predecessors. The unusual construction of the cycle, in which the finale plays the role of a dramatic peak, arose, apparently, under the influence of Mozart's symphony in g-moll. In the First Sonata one can hear tragic notes, stubborn struggle, protest. Beethoven will repeatedly return to these images in his piano sonatas: the Fifth (1796-1798), "Pathetique", in the final "Lunar", in the Seventeenth (1801-1802), in the "Appassionata". Later, they will receive a new life outside of piano music (in the Fifth and Ninth symphonies, in the Coriolanus and Egmont overtures).

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

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

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

It is very important to get acquainted with the form, to pay attention to the main themes of the sonata, to identify the individual characteristics of each of them. If the contrast is smoothed out, then the sonata form is not perceived. The general nature of sonority is associated with quartet-orchestral writing. It is necessary to pay attention to the meter-rhythmic organization of the sonata, which gives clarity to the music. It is important to feel the strong beats, especially in syncopations and off-beat constructions, to feel the attraction of motives to the strong beat of the measure, to follow the tempo unity of the performance.

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

From all this it can be seen that the study of a large form is a long and laborious process, the understanding of which the student will not be able to master from one lesson. It is also assumed that the student has a good musical and technical base. They also say that you need to find your own zest, to play like no one else.

The finale of the 1st sonata is written in the form of a sonata allegro with an episode instead of development and developmental elements. Thus, the form of the work plays a major role in the figurative dramaturgy of the work. Beethoven, preserving the classical harmony of the sonata form, enriched it with bright artistic techniques - the bright conflict of themes, sharp struggle, work on the contrast of elements already within the theme.

Beethoven's piano sonata is equivalent to a symphony. His conquests in the field of piano style are colossal.

“Having extended 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 roar of basses. With Beethoven, any kind of figuration, any passage or short scale acquires semantic significance,” wrote Asafiev.

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

DEPARTMENT OF CULTURE OF THE SAKHALIN REGION

GOU SPU SAKHALIN SCHOOL OF ARTS

COURSE WORK

On the subject "Analysis

musical works"

topic: "Analysis of the final of the First

sonatas by L. Beethoven»

Completed by a 5th year student

specialty "Music Theory"

Maksimova Natalya

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 digression into the topic

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

III CONCLUSION

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 as Tolstoy, Rembrandt, Shakespeare" 1 . In terms of philosophical depth, democracy, boldness of innovation, "Beethoven has no equal in the musical art of Europe of 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 subject the diverse types of musical thematics to such freedom of development, to show such a vivid conflict of themes at the level of elements, which composers of the 18th century did not even think about.

The sonata form attracted the composer with many qualities inherent only to it: the display (exposition) of musical images different in character and content presented unlimited possibilities, “opposing them, pushing them in a sharp struggle and, following the internal dynamics, reveal 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 Beethoven's development becomes the main driving force behind the transformation of sonata form. Thus, the sonata form becomes the basis of the vast majority of Beethoven's works. According to Asafiev, “a wonderful prospect opened before music: on a par with other manifestations of the spiritual culture of mankind, it [sonata form] could express the complex and refined content of the ideas and feelings of the 19th century with its own means.”

The principles of Beethoven's thinking crystallized most fully and most vividly 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 final part of the sonata is important for understanding the composer's musical thinking. A. Alschwang believes that the artistic techniques and principles of thematic development give grounds to consider the finale of the First Sonata “the initial link in a whole chain of stormy finales, up to the finale of the 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 on the basis of sonata form, which is work tasks.

IIMAIN PART.

The origin of the sonata form dates back to the end of the 17th - the beginning

XVIII centuries. Its features were most clearly manifested in the piano works of Domenico Scarlatti (1685-1757). They found their fullest expression in the work of F. E. Bach (1714-1788). The sonata form in the classical style was finally established 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 sonata form are distinguished by their significant scale, compositional complexity, and the dynamics of the development of the form as a whole.

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

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

the presence of two themes in different keys (main and subordinate), and in the recapitulation these themes are repeated in a different ratio, most often, tonally approach each other, and both themes are most typically held in the main key. (Mazel L.A. The structure of musical works. M .: Muzyka, 1986. p. 360).

I.V. The method is such a definition: a sonata is a form based on the opposition of two themes, which, at the first presentation, 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 GP

GP SP PP GP

One of the main driving forces in sonata form is the contradiction, the contrast of two themes. An impetuous theme is compared with a passionate, but melodious one, a dramatic one with a calm, soft one, an alarming one with a song one, etc.

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

For a side part, the following choice of keys is typical:

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

2. In minor works, the parallel major, minor dominant is more typical. Starting with Beethoven, the tonality of the major sixth low degree is found.

Sonata form contains several typical features:

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

2) A side part is 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) Connecting part - carries out the transition to the side part. Tonally unstable, does not contain closed constructions. It contains 3 sections: initial (adjacent to the main part), developing and final (pre-school).

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

5) The development is characterized by general tonal instability. Developed mainly elements of the main and secondary parties.

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

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

In general, the dramaturgy of the parts of the STS is as follows:

I part. As a rule, active, effective. Exposure of contrasting images, conflict.

II part. Lyric Center.

III part. Genre-domestic character.

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

The sonata is usually in three movements.

The first piano sonata f moll (1796) begins a line of tragic and dramatic works. It clearly shows the features of a "mature" style, although chronologically it is within the framework of the early period. Its first part and finale are characterized by emotional tension and tragic sharpness. Adagio reveals a number of beautiful slow movements in Beethoven's music. “The sonata's finale, Prestissimo, stands out sharply from the finales of its predecessors. Stormy, passionate character, roaring arpeggios, bright motive and dynamic contrasts” 1 . Here the final 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 starts with main party in F minor in Prestissimo "very fast" tempo, in free formation. This party already has 2 contrasting themes at its core - a dramatic active-volitional "in F minor" and a song-dance "in A-flat major"

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

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

1) Textured contrast:

In the lower part there is an active triplet movement.

In the upper part - a massive chordal texture.

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

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

4) “Sonic” contrast: - the lower part is a continuous “fluid” presentation, the upper one is dry, jerky chords.

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

The texture of this theme is more sparse - 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 stroke is introduced - tr (trill), which emphasizes some 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. tt 6-7 the beginning of the phrase is in the middle register (range g - as 2), then (tt 8-9) the theme "spreads" in opposite directions without filling the middle (range c - c 3).

Conducting the second phrase immediately begins in close proximity 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 next episode is anticipated by this tonality and intonation.

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

For figurative comparison, the contrast of strokes is also important. 1st theme - jerky staccato, 2nd theme - non legato and legato.

The second theme of the main part leads directly into the connecting part.

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

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

Thus, the linking part combines both the initial and the preceding section.

The two-bar transition to the link is marked by a double __ (“fortissimo” - very loud, strong).

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

Thus, the side part is written in a 2-part form - in relation to the main part, a structural contrast is formed. The tonality of the minor dominant (c moll) chosen for it - which, in general, is typical for classical sonata forms - forms the most important sign of sonata form exposition - tonal contrast. With the introduction of a side part, a thematic and figurative contrast with the main part appears. The first side part has a dramatic character. This is emphasized by the abundance of unstable harmonies, fluidity of presentation, continuous triplets, dynamism, undulating movement. It is characterized by tension. The rich range of the melodic line and “reference points” - from es 1 to as 2 and descending to d - emphasizes the impulsiveness of feelings - the whole theme first occupies 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 part is written in the form of a period with a retelling. It contrasts thematically with the first collateral. Its basis is song. Large durations (quarters compared to triplets of eighths of the first secondary), legato, “quiet” dynamics, melodically descending phrases, clear structure and song character, lyricism of the image, light, sad mood.

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

Side party leads to a vibrant dynamic final game , consisting of a number of additions and built on the material of the first theme of the main game. The final section returns the active volitional image. The first time it is carried out, it leads to the original key f moll, as a result of which the entire exposure is repeated. In the second passage, it leads to a new section - episode in the key of As major.

The introduction of the episode is explained by the fact that the images of the main and side parts were not brightly contrasting, 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 note sempre piano e dolce (quietly, gently all the time).

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

1 part of the episode is a 20-bar period. His cantilena theme "grew", by comparison, from the second theme of the main part. This theme is characterized by melodiousness and dance character. The structure of the theme is built on the principle of summation: small chant motifs and then ornamental song phrases.

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

The further development part is interesting in comparison with the 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 the dramatic active line and the lyrical-song line.

The contrast between these elements is indicative. If in the main part the chords were expressed brightly dynamically, then in development they are on pp (“pianissimo” - very quiet). And, conversely, the theme of the episode implied a gentle lyrical performance, but 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 thematics of the main part and the episode, and for the time being "growing" from the previous key.

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

reprise, as in the exposition, begins with Ch. n. 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 convergence of the party. As a result, the end of the second theme is slightly changed.

Linking part of the reprise is also based on the material of the first theme of the main part. But now it is built on the dominant precedent to f-moll, bringing both parties closer to the main key.

Reprise side part differs from the side part of the exposition only in tonality.

Only in final game changes are observed. Elements of the first theme of the main part are now presented not in the upper part, but in the lower part.

At the end of the final, an active volitional beginning is affirmed.

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

Conclusion:

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 dramaturgy of the work.

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

Beethoven's piano sonata is equivalent to a symphony. His conquests in the field of piano style are colossal.

“Having extended 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 roar of basses. With Beethoven, any kind of figuration, any passage or short scale acquires semantic significance.

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 V.B. Great musicians of Western Europe. M.: Enlightenment, 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. M.: Music, 1986

7. Sposobin I.V. musical form. M.: Music, 1980

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

In the shadow of the stunning Largo e mesto, this Minuet has remained, perhaps, somewhat underestimated. It has not attracted much attention from researchers and is not usually seen as a clear manifestation of the style and genius of its creator.

Meanwhile, Beethoven's logic of the struggle of contrasting principles found a peculiar and subtle embodiment in the Minuet. In addition, it anticipates the features of the melody of subsequent composers - Schumann, Chopin. This, of course, does not make Beethoven's style close to romanticism: the difference between artistic concepts and world outlook remains in force. But such anticipations constitute an essential side of Beethoven's work and once again testify to his striving for the future, of his significance for the further development of art.

The minuet in question is of a light lyrical nature and is called "dear" by Anton Rubinstein. The main character of the piece is contrasted by some more active, dynamic elements, to a certain extent akin to the scherzo genre. And it is in how the functions of various genre-stylistic components are distributed throughout the whole work, how the dance melody of the classical minuet anticipates mature romantic lyrics, and how this lyrics is combined with the scherzo element, is the main artistic discovery of the play. Its discovery and explanation is one of the tasks of the etude.
Another task is to demonstrate different aspects of the analytical method outlined in the previous parts of the book.
Within the framework of the three-part da capo form, the melodic extreme sections of the Minuet are opposed by the middle (trio) - more active, with sharply accentuated motives. It is inferior to the extreme in size and plays the role of a shading contrast. The extreme sections, in turn, are also three-part, and they reproduce - on a correspondingly smaller scale and with less sharpness of contrast - a similar relationship: the initial period and the reprise set out and develop a dance-lyrical melody, while the imitation middle is more mobile and approaches in character to such an episode, which could be found in the scherzo.
Finally, the dynamic element also penetrates into the main lyrical theme. This is just one syncopated "a" sound in the left hand part, taken by the sforzando in an ascending octave jump (see bar 7):
This moment may seem like just a detail, a separate private touch, designed to add some piquancy to musical thought, to increase its interest. However, from the further course of the play, the true meaning of this detail becomes clear. Indeed, the impetus for the imitative middle of the first section is a similar ascending octave step in the bass with an accent (sf) on the second sound:
In the recapitulation (within the first section), the bass octave progression and the syncopated effect of the seventh bar of the theme are amplified:
Finally, the trio also begins with a two-tone rising forte motif in the bass - true, in fourths, but then gradually expanded to an octave:
With octave intonations fortissimo, and, moreover, on the sound "a", the trio ends.
It becomes clear that the syncopation of bars 7-8 really serves as an expression of a contrasting (relatively speaking, scherzo) beginning, drawn with great consistency throughout the entire piece. It is also obvious that the juxtaposition of the melodious-lyrical and scherzo elements (based on the danceability that unites them) is given at three different scale levels: within the main theme, then within the framework of the simple three-part form of the first section, and finally, within the complex three-part form of the minuet (this is one from the expressions of the already familiar principle of multiple and concentrated effects).
Now let's pay attention to the first sound of the melody - again the syncopated "a". But this syncopation is not of a dynamic nature, but of a lyrical one. Such syncopations and their frequent use by Chopin (let us recall at least the Waltz in h-moll) have already been discussed in the section “On the relationship between the content and means of music”. Apparently, the initial lyrical syncopation of Beethoven's Minuet is one of the earliest, most striking examples of this kind.
The play therefore contains syncopations of two different types. As mentioned in the "Principle of Combination of Functions" section, different functions of the same tool are combined at a distance, and as a result, a play with the possibilities of syncopation arises, which gives a great artistic effect: the syncopated "a" of bar 7 simultaneously resembles the initial "a", and noticeably differs from it in its unexpectedness and sharpness. In the next measure (8) - again a lyrical syncopation, beginning the second sentence. The juxtaposition of the scherzo and lyrical principles is thus also manifested in the described correlation of the two types of syncopations.
It is not difficult to distinguish between them: scherzo syncopations are given sforzando in a bass voice and precede even (in this case, light) measures (measure 8 in ex. 68, measure 32 in ex. 70); lyrical ones do not have a sforzando shade, sound in melody and precede odd (heavy) measures (bars 1, 9 and 13 in example 68, measure 33 in example 70). At the climax of the play, as we shall see, these two types of syncopation merge.
And now consider the opening turn of the Minuet. It concentrates the intonations that became characteristic of lyrical melodics in the 19th century: after the syncopation, there is a typical sixth leap from the fifth to the third degree, followed by a smooth decline and singing of the tonic d, including a delay to the introductory tone. All this - with a relatively even rhythmic movement, legato, piano, dolce. Each of the listed means separately can, of course, be found in a wide variety of genre and stylistic conditions, but all of them - hardly. In addition, the role of turnover in the work, its fate in it, is important. Here this role is very significant, the motive is repeatedly repeated, affirmed, strengthened.
For the further development of the piece, it is essential, in particular, the alternation of legato and staccato in the second intonations of bars 5-6 (and at similar moments). This main meaningful opposition in the field of strokes also serves here as a combination of the two main expressive principles of the play. The staccato adds a touch of poignancy that sets the stage for the syncopation of the seventh bar. The latter nevertheless sounds unexpected, violates the inertia of perception.
Above, we discussed the meaning of this syncopation in the concept of the Minuet. But the meaningful function of syncopation is combined here (this time in simultaneity) with the communicative one. After all, it is in the usual cadence, perceived inertly due to the familiarity of its form and, moreover, signifying a drop in tension, that there is often a danger of a drop in the listener's interest as well. And the syncopation, breaking the inertia, supports this interest at the most necessary moment.
It is noteworthy that in the second sentence, constructed in general similar to the first, there is no such syncopation (on the contrary, another lyrical syncopation appears. This makes the full cadence of the period stable in rhythmic terms. However, the absence of an acute syncopation also violates the inertia of perception, since it ( syncopation) is already expected by analogy with the previous construction.As already mentioned in the section on the inertia of perception, in such cases, the disappeared, repressed (when a section is repeated) element still appears in the future, that is, the artist somehow returns his "duty "to the perceiver. Here it happens immediately after the end (and repetition) of the period: the initial intonation of the middle - the mentioned octave move in the bass with an emphasis on the second sound - is only a new form of the repressed element. Its appearance is perceived as desired, falls on prepared soil, captures advantageous metric-syntactic positions (strong beat of the first measure of the new construction) and therefore capable of serving as an impulse, the action of which extends to the entire middle.
This lively middle causes, in contrast, the strengthening of the lyrics: in the first sentence of the reprise, the melody begins against the background of a trill of the upper voice, unfolds more continuously, includes chromatic intonation (a - ais - h). The texture and harmony are enriched (deviation into the tonality of the second stage). But all this, in turn, entails a more active manifestation of the dynamic element.
The climax, turning point and a kind of denouement come in the second sentence of the reprise.
The sentence is expanded by ascending sequencing of the main lyrical motif. The climactic d is, in essence, the same lyrical syncopation that began both the whole play and this sentence. But here the syncopated sound of the melody is taken sforzando and preceded by an even (light) measure, which was still characteristic of syncopated scherzos. In addition, on the downbeat of the next measure, a dissonant altered chord sounds, also taken by sforzando (here is a syncopation of a higher order: the chord falls on a light measure). However, these manifestations of the scherzo element, coinciding with the climax of the lyrical growth, are already subordinate to it: the chord with expressive semitone gravity of the augmented sixth supports and enhances the climax. And it represents not only a melodic peak, but also a turning point in the figurative development of the main section of the Minuet (up to trio). There is a combination in simultaneity of two types of syncopation, which expresses the fusion of the scherzo and lyrical principles, and the first is subordinate to the second, as if dissolving in it. The climax here could be likened to the last attempt at a playful frown, which immediately turns into a smile.
Such is the consistently carried out witty figurative dramaturgy of the main section. Naturally, the lyricism, which asserted itself in the struggle, resulted in a broad melodic wave (the second sentence of the reprise), which is especially clearly reminiscent of the lyrical plays of the romantics. Sequential expansion of the reprise is quite common for the Viennese classics, but the conquest in its second sentence of a bright melodic peak, harmonized by an altered chord and serving as the culmination of the whole form, became typical only for subsequent composers. In the very structure of the wave, there is again a correspondence between a smaller and a larger structure: the sequenced initial motive is not only a jump with filling, but at the same time a small wave of rise and fall. In turn, a large wave is also a jump with filling (in the broad sense): in its first half - during the rise - there are jumps, in the second - no. Perhaps, most likely this wave, in particular the climax and scale-like decline with chromatism in melody and harmony (with the smooth movement of all voices), is reminiscent of Schumann's lyrics.
Some other details are also characteristic of post-Beethoven's lyrics. So, the reprise ends with an imperfect cadence: the melody freezes on a fifth tone. Similarly, the addition that follows the reprise, which has the character of a dialogue, ends in a similar way (this addition also somewhat anticipates Schumann's music).
This time, even the dominant preceding the last tonic is given not in the main form, but in the form of a third quarter chord - for the sake of unity with the harmonic structure of the entire addition and the main motive of the Minuet. Such an ending to the play is an extremely unusual case for the Viennese classics. In the works of subsequent composers, imperfect final cadences are often found.
It has already been said above that the “farewell roll call” of registers, motifs, timbres is often found in codes and additions. But, perhaps, such final comparisons in lyrical music are especially impressive. In the case under consideration, the farewell dialogue is combined with the deepening of the lyrics, with its new look (as is known, in Beethoven's codes, the new quality of the image has become quite a characteristic phenomenon). The initial motive of the Minuet not only sounds in a new way in the low register, but is also changed melodically: the retention d - cis is now stretched out, becoming more melodious 1 . A metrical transformation also took place: the measure on which the dominant terzquartakchord fell at the beginning of the Minuet (with the retention of d in the melody) was light (second), here it became heavy (third). The measure, which contained the melodic turn a-fis-e, was, on the contrary, heavy (the first), and now it has turned into a light one (the second). a) on which it is built. The very separation of two motifs from an integral melodic line and their comparison in different voices and registers can make them more weighty, present them as if in an increase (not rhythmic, but psychological). Recall that the decomposition of a certain unity into constituent elements for a more complete perception of each of them, and then the whole, is an important technique not only for scientific, but also for artistic knowledge (this was already discussed in the section “On Artistic Discovery” when analyzing Chopin’s Barcarolle) .
However, in art, the subsequent synthesis is sometimes left to the perception of the listener (viewer, reader). This is what happens in this case: the addition, it would seem, only decomposes the theme into elements, without recreating it again; but the listener remembers it and perceives - after an addition that deepens the expressiveness of its elements - the whole lyrical image is more complete and voluminous.
The subtle touch of the addition is the alternation of the natural and harmonic VI steps in the melody. This technique, used by Beethoven in the final constructions and later compositions (for example, in the final party of the first part of the Ninth Symphony, see bars 40-31 from the end of the exposition), was widely used in the work of subsequent composers of the 19th century. The very singing in the addition of the 5th degree of the mode with two chromatic auxiliary sounds b and gis might seem insufficiently prepared under the conditions of the diatonic melody of the Minuet, if chromatic intonations had not flickered in the melody earlier. Apparently, however, more important in this respect is the climactic harmony, which contains the sounds b and gis, gravitating toward a. In turn, this harmony - the only altered and unusual-sounding chord in the whole piece - perhaps receives some additional justification in the mentioned intonations a - b - a - gis - a. In a word, the culminating harmony and the pacifying semitone chanting of the 5th degree of the mode in the addition probably form a kind of pair representing
“a peculiar manifestation of the principle of pairing of unusual means, described in the last section of the previous part of the book.
We will consider the theme of the trio more briefly. It stands, as it were, in reverse relation to the thematic nature of the extreme parts. What is there in the background and has the character of a contrasting element, overcome in the process of development, comes to the fore in a trio (active ascending motifs of two sounds). And vice versa, the subordinate (contrasting) motive within the trio, also overcome and forced out at the end of this section, is the two-bar piano, the melodic-rhythmic figure of which resembles the turnover of bars 2-3 of the main theme of the Minuet, and the sound in the low register echoes the similar sound of the initial motive main theme in the immediately preceding appendix.
Behind this simple relation lies, however, a more complex one. It would seem that the theme of the trio is close to the themes of contrasting main parts, typical of Mozart's first allegroes. But, besides the fact that both elements of contrast are given against the background of the same triplet accompaniment, their ratio acquires a slightly different meaning. The second element, although it includes a delay, ends with an affirmative (iambic) intonation of a descending fifth, the first sound of which is also taken staccato. Invariably responding in a low register (unusual for the second elements of contrasting themes) to short active motifs thrown from the bass to the upper voice, the quiet and rhythmically even phrase is here the beginning not so much soft or weak, but calmly calm, as if cooling the ardor of sharp impulses.
This perception of the phrase is also determined by its place in the entire Minuet. After all, the three-part form of the classical minuet is strictly prescribed by tradition, and a more or less prepared listener knows that the trio will be followed by a reprise, where in this case the primacy of the dance-lyrical principle will be restored. Due to this psychological attitude, the listener feels not only the subordinate position of the described quiet phrase within the trio, but also that it serves as a representative of the dominant element of the entire piece, which has only temporarily faded into the background. Thus, the classical contrast ratio of motifs turns out to be ambivalent in the trio and is given with a certain mildly ironic tinge, which, in turn, serves as one of the expressions of the scherzoness of this trio as a whole.
The general dramaturgy of the play is connected, as is clear from what has been said, with the displacement of the scherzo element by the lyrical one at different levels. In the topic itself, the first sentence contains an acute syncopation, the second does not. We have followed in detail the overcoming of the scherzo element in the tripartite form of the first section. But after the quiet and gentle intonations of the lyrical addition, this element again invades as a trio, only to be again supplanted by the general reprise. We digress from the repetition of parts within the first section of the Minuet. They have a predominantly communicative meaning - they fix the corresponding material in the listener's memory - but, of course, they also affect the proportions of the piece, and through them the semantic relationships, giving the first section more weight compared to the trio. Least of all these repetitions affect development logic: for example, after the first appearance of the addition, the imitation middle sounds again, starting with accented two-tone motives of the bass voice (see example 69), and after repeating the addition, a trio begins, starting with a similar motive.
Having finished the analysis of the thematic material and the development of the piece, let us now return to the anticipations we noted (in the extreme sections of the Minuet) of later lyrical melody. It would seem that they were not at all caused either by the genre of the minuet in general, or by the nature of this piece, which by no means claims to have special emotional expression, developed songwriting, or a wide spill of lyrical feelings. Apparently, these anticipations are due precisely to the fact that the lyrical expressiveness of the extreme sections of the play is consistently enhanced in the struggle against the scherzo-dynamic element and, as it were, is forced to put more and more new resources into action. Since this is carried out under conditions of severe restrictions imposed by the chosen genre and the general style of music, which do not allow a wide or violent overflow of emotions, the development of melodic and other means takes place in the direction of the subtle lyrics of small romantic pieces. This example shows once again that innovation is sometimes also stimulated by those special restrictions that are associated with the meaning of the artistic task.
Here the main artistic discovery of the play is revealed. There are many lyrical minuets (for example, by Mozart) that are even more profoundly lyrical than this one. Minuets with all sorts of scherzo shades and accents are found in abundance among the Viennese classics. Finally, combinations of lyrical elements with scherzo elements are not uncommon in minuets. But the consistently executed dramaturgy of the struggle of these elements, in the process of which they seem to spur and reinforce each other, the struggle leading to a climax and a denouement with the dominance of the lyrical beginning after it, is a specific, uniquely individual discovery of this particular Minuet and at the same time the discovery typically Beethoven in its extraordinary logic and striking dialectic of dramaturgy (transformation of scherzo accents into one of the manifestations of the lyrical climax). It also led to a number of more private discoveries in the field of the described anticipations of the lyrics of nineteenth-century composers.
The originality of the piece, however, also lies in the fact that the means of post-Beethoven lyrics that have arisen in it are not given in full force: their action is restrained by the general nature of the piece (fast tempo, dance, a significant role of staccato, the predominance of quiet sonority) and its position in the sonata cycle as a part that contrasts with other parts also with less weight and is designed to give some relaxation. Therefore, when performing the Minuet, it is hardly necessary to emphasize the features of romantic lyrics: immediately after Largo e mesto, they can sound only in an undertone. The analysis presented here, much like slow-motion filming, inevitably highlights these features too close, but only in order to better see and understand them, and then recall their real place in this play - albeit lyrical, but secular, witty and mobile classical minuet. Feeling under its cover, in its restraining framework, these features give the music an inexplicable charm.
What has just been said about the Minuet applies, to one degree or another, to certain other compositions of early Beethoven or to their individual episodes. Suffice it to recall, for example, the mobile-lyrical opening theme of the Tenth Sonata (Q-dur, op. 14 No. 2), extremely flexible, sinuous and elastic, containing many features that later became characteristic of the lyrics of subsequent composers. In the connecting part of this sonata, there is a chain of descending retentions, repeated (sequenced) twice up and down (bars 13-20), which also throws the arc to the melody of the future, especially to the typical dramaturgy of Tchaikovsky's melodic lines. But again, the almost ready-made mechanism of the later lyrics is not set in full swing: the mobility of the theme, the comparative brevity of the detentions, the grace notes, and finally, the Viennese-classical nature of the accompaniment - all this restrains the emerging romantic expressiveness. Beethoven, apparently, proceeds in such episodes from the traditions of Rousseau's sensitive lyrics, but he transforms them in such a way that means are created that in many respects anticipate the future, although only in it will they reveal to the end (of course, under correspondingly different conditions of the context) their expressive possibilities, will begin to operate in full force. These observations and considerations perhaps provide some additional material for the problem of "Early Beethoven and Romanticism".
In the previous exposition, the Minuet was considered as a relatively independent piece, and therefore indications of its place in the sonata were limited to the necessary minimum. This approach is largely justified, since the parts of classical cycles do have a certain autonomy and allow for separate performance. It is natural, however, that a part has a complete artistic impact only within the framework of the whole. And therefore, in order to understand the impression produced by the Minuet when perceiving the entire sonata, it is necessary to clarify the corresponding correlations and connections - first of all with the immediately preceding Largo. An analysis of these connections will be combined here with a demonstration of a certain way of describing a work - the way mentioned at the end of the section "On Artistic Discovery": we will, as it were, derive the structure and partly even the thematics of the play (at some levels) from its creative task known to us in advance, its genre , functions in the sonata cycle, from the artistic discovery contained in it, as well as from the typical features of the composer's style and the traditions embodied in it.
Indeed, the role of this piece in the sonata is largely determined by its relation to the neighboring parts - Largo and finale. The clearly expressed scherzo features of the latter would not be consistent with the choice of the scherzo as the genre of the third part of the sonata (it is also impossible here to do without a fast middle movement, that is, to make the cycle three-part, since this finale could not balance the Largo). Remains - in terms of early Beethoven's style - the only possibility is a minuet. Its main function is a contrast to the mournful Largo, giving, on the one hand, relaxation, less tension, on the other, some, albeit restrained, lyrical enlightenment (in some places with a pastoral tinge: we recall the introduction of the theme, which begins against the background of a trill in the upper voice ).
But the classical minuet itself is a contrasting three-part form. And in cases where he is predominantly dance-lyrical in nature, his trio is more active. Such a trio can prepare the finale, and in this preparation lies the second function of the Minuet.
Recalling now Beethoven's tendency to develop in concentric circles, it is easy to assume that the comparison of the dance-lyrical and more dynamic (or scherzo) beginnings will be carried out not only at the level of the minuet form as a whole, but also within its parts. An additional basis for such an assumption is a similar development (but with an inverse relationship of themes) in the fast middle part of the earlier Second Sonata. Indeed, in her Scherzo, the contrasting trio naturally has a more calm, melodious character. But in the middle of the extreme sections there is also a melodious episode (gis-moll), close in its even rhythm, smooth melodic pattern, minor mode (as well as the texture of the accompaniment) to the trio of the same Scherzo. In turn, the first bars of this episode (repeated quarters) follow directly from bars 3-4 of the main theme of the Scherzo, rhythmically contrasting with the livelier initial motifs. Therefore, it is easy to expect that in the dance-lyrical extreme sections of the Minuet from the Seventh Sonata, on the contrary, a more mobile middle will appear (this is actually the case).
It is more difficult to realize in the Minuet a similar relationship within the main theme. For if the themes of the active or scherzo type do not lose their character when calmer or softer motives are included as a contrast, then the melodious, lyrical themes gravitate towards more homogeneous material and non-contrasting development. That is why in the Scherzo from the Second Sonata, the melodious trio is homogeneous, and the first theme contains some contrast, while in the Minuet from the Seventh Sonata, the more active trio is internally contrasting, and the main theme is melodically homogeneous.
But is it still possible to introduce a contrasting dynamic element into such a theme? Obviously, yes, but only not as a new motive in the main melodic voice, but as a short impulse in accompaniment. Taking into account the role of syncopation in Beethoven's work as such impulses, it is easy to understand that, given the general idea of ​​the Minuet, the composer, of course, could introduce a syncopal accent into the accompaniment of the theme, and, of course, where it is most needed and possible with communicative point of view (on the decline of tension, during the relatively long sounding of the cadence quarter-sext-cord, that is, as if instead of the usual figurative filling of the rhythmic stop of the melody). It is possible that this communicative function was the initial one in the real creative process. And this already encourages that in the further development of the Minuet, the scherzo-dynamic element appears mainly in the form of short impulses. The intention to consistently carry out a struggle of opposite principles at different levels can lead to a happy idea to give lyrical syncopations in the theme as well, and thus make the comparison of different types of syncopation one of the means of realizing the main artistic discovery (a kind of subtheme of the second kind, which serves to solve the general theme of the play). ). The vicissitudes of the struggle that we have described above could also be deduced from this situation almost as "suggestive".
The quotation marks here, of course, point to the conventionality of such deductions, because in a work of art there are no elements and details that are neither absolutely necessary nor completely arbitrary. But everything is so free and unconstrained that it may seem the result of an arbitrary choice of the artist (an unrestricted game of his imagination), and at the same time, it is so motivated, artistically justified, organic that it often gives the impression of being the only possible one, while in reality the artist’s imagination could to suggest other solutions. The derivation, as it were, of some features of the structure of a work from a certain kind of data, which we use, is only that method of description that clearly reveals precisely the motivation, the organic nature of compositional decisions, the correspondence between the structure of the work and its creative task, its theme (in the general sense of the word), the natural realization of the theme at different levels of structure (of course, in some specific historical, stylistic and genre conditions). We also recall that such a “generating description” does not at all reproduce the process of creating a work by an artist.
Let us now deduce, based on the conditions known to us, the main motive of the Minuet, its initial turnover, which occupies the first three measures and a strong beat of the fourth. One of these conditions is the deep motive-intonational unity of the parts of the cycle, characteristic of Beethoven's style. Another is the already mentioned function of the Minuet, and above all of its main theme, as a kind of dawn, a quiet dawn after Largo. Naturally, with Beethoven's type of unity of the cycle, enlightenment will affect not only the general character of the music (in particular, the change of the eponymous minor to major): it will also manifest itself in the corresponding transformation of the very intonational sphere that dominates Largo. This is one of the secrets of the Minuet's especially bright impact when it was perceived immediately after Largo.
In the first Largo bar motif, the melody rotates in a diminished fourth range between the opening tone and the tonic minor third. Bar 3 contains a gradual decay from the third to the opening tone. The main motif of the side part also follows from it (we give an example from the exposition, that is, in the key of the dominant).
Here, a choreic intonation of the detention type is directed to the introductory tone (a quarter-sext chord resolves to the dominant), and the third top is taken by an octave jump.
If we now make the motif of the side part of Largo light and lyrical, that is, transfer it to a higher register, to major and replace the octave jump with a typical lyrical sixth V-III, then the intonational contours of the first motive of the Minuet will immediately appear. Indeed, in the motive of the Minuet, both the jump to the third top, and the progressive decline from it to the opening tone, and the delay to the last one are preserved. True, in this smoothly rounded motif, the opening tone, in contrast to the motif of the side part Largo, gets a resolution. But in the lyrical conclusion of the Minuet, where the same motif occurs in a low register, it ends precisely on the introductory tone, and the intonation of the detention is emphasized, stretched. Ultimately, the motivic formations under consideration go back to a gradual descent in the volume of a fourth, which opens the initial Presto of the sonata and dominates it. For the side part Largo and the Minuet motif, the beginning with an upward jump to the third degree of the mode and the delay to the introductory tone are specific.

Finally, it is important that in the final part of the Largo exposition (bars 21-22) the motif of the side part also appears in a low register (but not in the bass voice, that is, again, as in the Minuet), sounds forte, pathetic, and therefore quiet major main the motive from the addition of the Minuet appears with particular certainty as a pacification and enlightenment of the intonation sphere of Largo. And this is regardless of whether the arch described now reaches the consciousness of the listener or remains (which is much more likely) in the subconscious. In any case, the close intonational connection between the Minuet and Largo in a peculiar way sets off and sharpens their contrast, deepens and refines the very meaning of this contrast, and, consequently, enhances the impression made by the Minuet.
There is no need to dwell on the connections of the Minuet with other parts of the sonata. However, it is important to understand his main theme-melody not only as a result of the corresponding development of the intonational sphere of this cycle, in particular its genre transformation, but also as the implementation of the traditions inherited by Beethoven of the same melodic-dance, mobile-lyrical warehouse. We are now referring not to the expressive and structurally expressive primary complexes concentrated in the main motif (lyrical sixthness, lyrical syncopation, retention, jump with smooth filling, small wave), but, first of all, some successive connections of the general structure of the theme as a certain kind of square period with similar dance, song and song-dance periods of Mozart.
One of the features of the theme of Beethoven's Minuet is the beginning of the second sentence of the period a second higher than the first, in the key of the second degree. This also happened with Mozart. In Beethoven's Minuet, the possibility of sequential growth inherent in such a structure is realized: in the second sentence of the reprise inside the extreme sections, as we have seen, an ascending sequence is given. It is significant that its second link (G-dur) is partly perceived as the third one, since the first link (e-moll) is itself a sequential movement of the initial motive of the piece (this enhances the effect of growth).
Among Mozart's melodic-dance periods with the described structure, one can also find one in which the melodic and harmonic contours of the thematic core (that is, the first half of the sentence) are very close to the contours of the first motive of Beethoven's Minuet (the theme from the side group Allegro of Mozart's Piano Concerto in d-moll).
The melodies of the initial core of this theme and the theme of Beethoven's Minuet coincide note for note. The harmonization is also the same: T - D43 -T6. In the second sentence of the period, the initial core is similarly moved up by a second. The second halves of the first sentences are also close (gradual decline of the melody from the 5th to the 2nd degree of the scale).
Here, the very fact of the relationship between the theme of Beethoven's Minuet and one of the bright dance-singing side parts of Mozart's sonata (concert) allegro is indicative. But even more interesting are the differences: although the third peak in Mozart's initial motive is more prominent, the absence of lyrical syncopation and retention in it, a less even rhythm, in particular two sixteenths of a somewhat melismatic nature, make Mozart's turn, in contrast to Beethoven's, by no means close to romantic lyrics. And finally, the last one. A comparison of two related themes illustrates well the opposition of even and odd meters, which was discussed in the section “On the System of Musical Means”: it is clear to what extent the three-beat theme is (ceteris paribus) softer and more lyrical than the four-beat one.

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

Piano Sonata Es-Dur op.7 (No. 4) was written in 1796-1797.

The tonality of the second part of the sonata (C-Dur) represents the tertian 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-symphony cycles. Brief outline of the part:

Main part (8+16 volumes) C-Dur

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

Small development section (14 vol.)

Main part (8+15 volumes) C-Dur

Side lot (5t) C-Dur

Final section (8v) C-Dur

Koda (4 volumes) C-Dur

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

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

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

The melody of the main part is restrained, of a rotating type, it is a descent from the top at the beginning to the tonic. The movement of the melody is mostly stepwise, singing the interval of the tonic third. In the middle section, the melody emphasizes the I and V steps of the dominant key (G-Dur) three times. In the reprise of the main part, the melody rises in waves to the climax (18 m.): here the fourth intonation of the main theme is reversed.

Topic side party is an example of a "derived contrast" from the main theme - its image is more melodious, individualized than the image of the main party. It is more "mosaic", divided into constructions of 4 measures, simultaneously combines the function of development, 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 chorality, thanks to the chord texture, declamation is more clearly manifested, thanks to semitone second intonations, and there are also associations with the march due to the dotted rhythm.

The melody is more aspiring, directed upwards (unlike the main part, where the movement is directed downwards). Also, the effect of aspiration upwards 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 movement, a small section plays (14 measures), consisting of a dialogue (5 m.), a false reprise in B-Dur in the upper register (3 m.), a stretta on a descending fourth motif of the main part (2 m.), and a link to reprise (4 volumes).

reprise of the main part almost completely repeats the exposition material, reducing the connection to the side part by 1 measure. Smaller melismatics are added in the middle section, and at the climax, the aspiration to the top intensifies, thanks to the doubling of the fourth in the melody of the ascending fourth intonation in the lower voice.

The side part in the reprise is performed in the main key (C-Dur) in a highly abbreviated form, transferred to the lower voice, which brings it closer in character to the main theme and ends with an extended cadence in the main key, which can be regarded as the final section.

The last 6 measures of the movement can be denoted as code, built on the reharmonization of intonations of the main part.

It should be noted that the means intonation unification The principle of “growth” of the entire thematic material of the movement from one thematic “impulse” is characteristic of Beethoven throughout the entire movement.

Such an “impulse” here is represented by the first two motifs of the main part, from which all subsequent themes of the movement arise.

They consist of several "components":

1.Incremental upward movement per second

2. Rhythm: quarter (strong beat) - eighth

3.Quart downward jump to a strong beat

4. Dotted rhythm on a strong beat

5.Chord choral texture

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

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

The dotted rhythm in the main part is combined with the second intonation on a strong beat, and later in the side part on a weak beat, giving it aspiration. Later, the final section is based on the same dotted rhythm, in which the fourth interval 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 music from the era of classicism (principles of constructing a sonata cycle, the presence of decorations), as well as features of the era of romanticism (terts 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 choral accompaniment in chord accompaniment and declamation in melody. You can also see the origin of the principle of creating the entire musical material of the part from the intonations of the main theme, which would later be clearly manifested in Beethoven's symphonies.

Any educational work to order

She had almost no doubt for a second that Jenny would play the very passage from the second sonata that this dead man with the ridiculous surname Zheltkov had asked for. So it was. She recognized from the very first chords this exceptional piece, unique in its depth. And her soul seemed to split in two. She simultaneously thought that a great love passed by her, which is repeated only once ...

Analysis of Beethoven's Sonata op. 2 No. 2 A-dur (A major) (abstract, term paper, diploma, control)

• Beethoven Sonata op. 2 No. 2 (A Dur) Introduction
• 1. chapter. Biography of L. van Beethoven
• 2. chapter. Beethoven's work
• 3. chapter. Sonata op. 2 No. 2 (A Dur)
• Conclusion
• Appendix 1. Fragments from A. Kuprin's story "Garnet Bracelet"
• Appendix 2. Key dates of Beethoven's life and work

If you can, forgive me for this. Today I am leaving and will never return, and nothing will remind you of me.

I am infinitely grateful to you just for the fact that you exist. I checked myself - this is not a disease, not a manic idea - this is love, which God was pleased to reward me for something.

Let me be ridiculous in your eyes and in the eyes of your brother, Nikolai Nikolaevich. Leaving, I say in delight: "Hallowed be thy name."

Eight years ago I saw you in a box at the circus, and at that very first second I said to myself: I love her because there is nothing like her in the world, there is nothing better, there is no beast, no plant, no star, not a person is more beautiful and more tender than you. All the beauty of the earth seems to be embodied in you ...

Think what I should have done? Run away to another city? All the same, the heart was always near you, at your feet, every moment of the day was filled with you, the thought of you, dreams of you ... sweet delirium. I am very ashamed and mentally blush for my stupid bracelet, - well, what? - error. I can imagine the impression he made on your guests.

I'll be leaving in ten minutes, I'll just have time to stick a stamp and put the letter in the mailbox so as not to entrust this to anyone else. Burn this letter. I have now fired up the stove and am burning everything dearest that I had in my life: your handkerchief, which, I confess, I stole. You forgot it on a chair at a ball in the Noble Assembly. Your note - oh, how I kissed her - with it you forbade me to write to you. The program of an art exhibition that you once held in your hand and then forgot on a chair when you left ... It's over. I cut everything off, but still I think and I am even sure that you will remember me. If you remember me, then ... I know that you are very musical, I saw you most often on Beethoven's quartets - so, if you remember me, then play or order to play the D-dur sonata No. 2, op. 2.

I don't know how to finish the letter. From the bottom of my heart I thank you for being my only joy in life, my only consolation, my only thought. May God grant you happiness, and may nothing temporary and worldly disturb your beautiful soul. I kiss your hands.

Fragment of the story, after the death of Zheltkov:

“Vera gathered her strength and opened the door. The room smelled of incense and three wax candles were burning. Zheltkov was lying on the table diagonally across the room. His head was resting very low, as if on purpose, a small soft pillow was slipped into him, a corpse that didn’t care. Deep importance was in his closed eyes, and his lips smiled blissfully and serenely, as if before parting with life he had learned some deep and sweet secret that solved his whole human life. She remembered that she had seen the same peaceful expression on the masks of the great sufferers - Pushkin and Napoleon.

- If you order, pani, I will leave? the old woman asked, and there was something extremely intimate in her tone.

“Yes, I’ll call you later,” Vera said, and immediately took out a large red rose from the small side pocket of her blouse, lifted the corpse’s head a little with her left hand, and with her right hand put a flower under his neck. At that moment, she realized that the love that every woman dreams of had passed her by. She remembered the words of General Anosov about eternal exclusive love - almost prophetic words. And, parting the hair on the dead man's forehead to both sides, she tightly squeezed his temples with her hands and kissed him on the cold, wet forehead with a long friendly kiss.

When she left, the landlady turned to her in a flattering Polish tone:

- Pani, I see that you are not like everyone else, not just out of curiosity. The late Pan Zheltkov told me before his death: “If it happens that I die and some lady comes to look at me, then tell her that Beethoven has the best work ...” - he even wrote it down for me on purpose. Look here...

“Show me,” said Vera Nikolaevna, and suddenly burst into tears. “Excuse me, this impression of death is so heavy that I cannot help it.

And she read the words, written in familiar handwriting:

L. van Beethoven. Son. No. 2, op. 2. Largo Appassionato".

Fragment of the end of the story:

“Vera Nikolaevna returned home late in the evening and was glad that she did not find either her husband or brother at home.

But the pianist Jenny Reiter was waiting for her, and, excited by what she saw and heard, Vera rushed to her and, kissing her beautiful big hands, shouted:

“Jenny, dear, I beg you, play something for me,” and immediately she left the room for the flower garden and sat down on the bench.

She had almost no doubt for a second that Jenny would play the very passage from the second sonata that this dead man with the ridiculous surname Zheltkov had asked for.

So it was. She recognized from the very first chords this exceptional piece, unique in its depth. And her soul seemed to split in two. She simultaneously thought that a great love passed by her, which is repeated only once in a thousand years. She remembered the words of General Anosov and asked herself why this man forced her to listen to this particular Beethoven work, and even against her will? And the words formed in her mind. They so coincided with the music in her thoughts that they were like couplets that ended with the words: "Hallowed be thy name."

“Now I will show you in gentle sounds a life that humbly and joyfully doomed itself to torment, suffering and death. I knew no complaint, no reproach, no pain of pride. I am before you - one prayer: "Hallowed be thy name."

Yes, I foresee suffering, blood and death. And I think that it is difficult for the body to part with the soul, but, Beautiful, praise to you, passionate praise and quiet love. "Hallowed be thy name."

I remember your every step, smile, look, the sound of your gait. Sweet melancholy, quiet, beautiful melancholy are wrapped around my last memories. But I won't hurt you. I'm leaving alone, silently, it was so pleasing to God and fate. "Hallowed be thy name."

In the dying sad hour, I pray only to you. Life could be great for me too. Do not grumble, poor heart, do not grumble. In my soul I call for death, but in my heart I am full of praise to you: "Hallowed be thy name."

You, you and the people around you, all of you don't know how beautiful you were. The clock strikes. Time. And, dying, in the mournful hour of parting with life, I still sing - glory to you.

Here she comes, all pacifying death, and I say - glory to you! .. "

Princess Vera hugged the trunk of an acacia tree, clung to it and wept. The tree shook gently. A light wind blew up and, as if in sympathy with her, rustled the leaves. The stars of tobacco smelled sharper ... And at that time, amazing music, as if obeying her grief, continued:

“Calm down, darling, calm down, calm down. Do you remember me? Do you remember? You are my one and only love. Calm down, I'm with you. Think of me and I will be with you, because you and I loved each other for only one moment, but forever. Do you remember me? Do you remember? Do you remember? Here I feel your tears. Take it easy. I sleep so sweetly, sweetly, sweetly.

Zhenya Reiter left the room, having already finished playing, and saw Princess Vera sitting on a bench all in tears.

- What happened to you? the pianist asked.

Vera, with her eyes shining with tears, restlessly, excitedly began to kiss her face, lips, eyes, and said:

“No, no,” he forgave me now. Everything is fine".

Appendix 2. The main dates of the life and work of Beethoven.

1782 - the beginning of classes with Nefe. Three clavier sonatas.

1787, spring - trip to Vienna, meeting with Mozart. Return to Bonn.

1790 - funeral cantata for the death of Joseph P.

1792−1795 - the teaching of Haydn, Schenck, Albrechtsberger, Salieri.

1799 - Pathetic Sonata.

1801 - "Moonlight Sonata".

1802 - Second symphony. Heiligenstadt Testament.

1804 - Heroic Symphony.

1804−1806 - "Appassionata".

1806 - Fourth symphony.

1806−1807 - Fifth and Sixth symphonies.

1809, February - an agreement with the Archduke Rudolf and the princes Lobkowitz and Kinsky on the establishment of the annual allowance.

1812, spring - Seventh Symphony.

1812, summer - meeting with Goethe in Teplice. Letter to the "immortal beloved".

1812, autumn - Eighth Symphony.

1814, May - presentation of "Fidelio" in the third edition. November 29 - Academy in honor of the Congress of Vienna.

1818 - Twenty-ninth piano sonata.

1819−1822 - Solemn Mass. The last three sonatas for piano.

1822 - meeting with Rossini.

1823 - Beethoven visited by Weber and Liszt.

1824−1825 - Quartets op. 127, op. 130 and op. 132.

1826 Carl's nephew attempts to commit suicide. Departure to brother Johann in Gneixendorf. Return to Vienna, illness. The last two quartets.

Judging by the drafts, Beethoven was distinguished by a special creative method of writing works. Unlike Mozart, whose work appeared at once, in a burst of inspiration, Beethoven's work was born gradually, many themes were reworked many times, the composer was looking for different versions of their sound and different methods of their development.

The famous phrase of Mozart is known: “He will make everyone talk about himself” (quoted by: Konen, V.D. History of foreign music. Issue 3. - M .: Music.

Koenigsberg, A. Ludwig van Beethoven. - Leningrad: Music, 1970.

Over time, Beethoven developed his own style of communication - writing in "conversational notebooks", which are partially preserved and are a unique written record of his conversations with contemporaries.

This line will be continued by the composer in Sonata No. 21, Aurora.

From the words espressivo.

For more on this, see: Appendix 1.

The letter mentions Beethoven's Sonata No. 2, which is a musical symbol of the hero's love.

Cit. Quoted from: Kuprin, A. Garnet bracelet. - M .: Children's literature, 2007. S. 21−22.

Cit. Quoted from: Kuprin, A. Garnet bracelet. - M .: Children's literature, 2007. S. 26−27.

Cit. Quoted from: Kuprin, A. Garnet bracelet. - M .: Children's literature, 2007. S. 29−31.

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Bibliography

1. Alschwang A. Ludwig van Beethoven. Essays on life and creativity. Moscow: Music, 1966.
2. Galatskaya, V. Musical foreign countries. - M.: Music, 1989.
3. Grigorovich, V.B. AT . A. Mozart and J. Haydn // To the great musicians of Western Europe. - M.: Enlightenment, 1982.
4. Zasimova A. How to play Beethoven. - M.: Classics XXI, 2008.
5. Koenigsberg A. Ludwig van Beethoven. - Leningrad: Music, 1970.
6. Kirillin, L. V. Beethoven. Life and work: in 2 volumes - M .: Publishing House of the Moscow Conservatory, 2009.
7. Klimovitsky, A.I. On Beethoven's creative process. Moscow: Music, 1979.
8. Konen , V. D. History of foreign music. Issue. 3. - M.: Music. 1972.
9. Korganov, V. D. Beethoven. Biographical sketch. - M.: Algorithm, 1997.
10. Kremlev, Yu. Beethoven Piano Sonatas. - M.: Soviet composer, 1970.
11. Kremnev, B. Beethoven / Life of remarkable people. Issue. XII. M.: Music, 1961.
12. Kuprin A. Garnet bracelet. - M.: Children's, 2007.
13. Levik, B.V., Nikolaeva, N.S., Gruber, R.I. Music of the French Revolution of the 18th century. Beethoven. - M.: Music, 1967.
14. Livanova, G. History of Western European music before 1789. - M.: Music, 1982.
15. Maksimov, E. I. Piano works of Ludwig Beethoven in the context of musical criticism and performance trends of the late 18th - first third of the 19th century: dis. … cand. art history: 17.00.02. - M., 2003. 315 p.

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