Ministry of Higher and Vocational Education and Science of the Russian Federation

GAOU VPO "Moscow State Regional

Social and Humanitarian Institute"

department of music

Course work

in harmony

Ludwig van Beethoven. Early sonatas

Completed by: Bakhaeva Victoria

Muz 41 student

Faculty of Philology

Checked by: Shcherbakova E.V.,

Doctor of Cultural Studies

Kolomna 2012

Introduction

Chapter 1. The evolution of the sonata genre in Beethoven's work

1.1 The meaning and place of the piano sonata genre in the work of J. Haydn and V.A. Mozart

1.2 The meaning and place of the piano sonata genre in the works of the Viennese classics

1.3 Piano sonata - "laboratory" of Beethoven's creativity

Chapter 2. Beethoven's early sonata work: characteristics, features

2.1 Features of early sonata work

2.2 Analysis of sonatas No. 8 c-moll ("Pathetic"), No. 14 cis moll ("Moonlight")

Conclusion

Bibliography

Introduction

Ludwig van Beethoven (1770-1827) - the great German composer and pianist, one of the founders of the Viennese school of classical music. His works are full of heroism and tragedy, they do not have a trace of the gallant sophistication of the music of Mozart and Haydn. Beethoven is a key figure in Western classical music between classicism and romanticism, and one of the most respected and performed composers in the world.

Beethoven is usually spoken of as a composer who, on the one hand, completes the classicist era in music, and on the other hand, paves the way for the "romantic age". In broad historical terms, such a formulation does not raise objections. However, it does little to understand the essence of Beethoven's style itself. For, touching on some sides at certain stages of evolution with the work of the classicists of the 18th century and the romantics of the next generation, Beethoven's music actually does not coincide in some important, decisive features with the requirements of either style. Moreover, it is generally difficult to characterize it with the help of stylistic concepts that have developed on the basis of studying the work of other artists. Beethoven is inimitably individual. At the same time, it is so many-sided and multifaceted that no familiar stylistic categories cover all the diversity of its appearance.

He wrote in all the genres that existed in his time, including opera, ballet, music for dramatic performances, choral compositions. But instrumental works are considered the most significant in his legacy: piano, violin and cello sonatas, concertos<#"601098.files/image001.gif">

They are answered by a gentle, melodious melody with a touch of supplication, which sounds against the background of calm chords:

It seems that these are two different, sharply contrasting themes. But if we compare their melodic structure, it turns out that they are very close to each other, almost the same. Like a compressed spring, the introduction harbored a huge force that demanded an exit, a discharge.

A fast-paced sonata allegro begins. The main party resembles violently rising waves. Against the background of the restless movement of the bass, the melody of the upper voice anxiously runs up and down:

The connecting part gradually calms the excitement of the main theme and leads to a melodic and melodious side part:

However, the wide "run-up" of the side theme (almost three octaves), the "pulsating" accompaniment give it a tense character. Contrary to the rules established in the sonatas of the Viennese classics, the side part of the "Pathétique Sonata" sounds not in parallel major (E-flat major), but in the minor mode of the same name (E-flat minor).

The energy is growing. She breaks through with renewed vigor in the final part (E-flat major). Short figurations of broken arpeggios, like biting beats, run across the entire piano keyboard in a divergent movement. The lower and upper voices reach the extreme registers. The gradual increase in sonority from pianissimo to forte leads to a powerful climax, to the highest point in the musical development of the exposition.

The second closing theme that follows it is only a short respite before a new "explosion". At the end of the conclusion, the impetuous theme of the main party unexpectedly sounds. The exposition ends on an unstable chord. At the boundary between exposition and development, the gloomy theme of the introduction reappears. But here her formidable questions remain unanswered: the lyrical theme does not return. On the other hand, its significance increases greatly in the middle section of the first part of the sonata - development.

Development is small and very stressful. "Struggle" flares up between two sharply contrasting themes: the impetuous main part and the lyrical opening theme. At a fast pace, the opening theme sounds even more restless, pleading. This duel between "strong" and "weak" results in a hurricane of impetuous and stormy passages, which gradually subside, going deeper and deeper into the lower register.

The reprise repeats the themes of the exposition in the same order in the main key - C minor.

The changes concern the connecting party. It is significantly reduced, since the tone of all topics is the same. But the main party has expanded, which emphasizes its leading role.

Just before the end of the first part, the first theme of the introduction appears again. The first part is completed by the main theme, sounding at an even faster pace. Will, energy, courage won.

The second movement, Adagio cantabile (slow, melodious) in A flat major, is a deep reflection on something serious and significant, perhaps a memory of what has just been experienced or thoughts about the future.

Against the background of measured accompaniment, a noble and majestic melody sounds. If in the first part pathos was expressed in the elation and brightness of music, then here it manifested itself in the depth, sublimity and high wisdom of human thought.

The second part is amazing in its colors, reminiscent of the sound of orchestral instruments. At first, the main melody appears in the middle register, and this gives it a thick cello coloring:

The second time the same melody is stated in the upper register. Now its sound resembles the voices of violins.

In the middle section of the Adagio cantabile, a new theme appears:

The call of two voices is clearly distinguishable. A melodious, gentle melody in one voice is answered by a jerky, "dissatisfied" voice in the bass. The minor mode (of the same name in A-flat minor), the restless triplet accompaniment give the theme an unsettling character. A dispute between two voices leads to a conflict, the music becomes even more poignant and emotional. Sharp, emphasized exclamations (sforzando) appear in the melody. The sonority intensifies, which becomes denser, as if the whole orchestra is entering.

With the return of the main theme comes the reprise. But the nature of the theme has changed significantly. Instead of leisurely accompaniment by sixteenth notes, restless figurations of triplets are heard. They moved here from the middle part as a reminder of the anxiety experienced. Therefore, the first theme no longer sounds so calm. And only at the end of the second part do gentle and friendly "farewell" turns appear.

The third movement is the finale, Allegro. The impetuous, agitated music of the finale has much in common with the first part of the sonata.

The main key in C minor also returns. But there is not that courageous, strong-willed pressure that so distinguished the first part. There is no sharp contrast between the themes in the finale - the source of the "struggle", and with it the tension of development.

The finale is written in the form of a rondo sonata. The main theme (refrain) is repeated four times here.

It is she who determines the nature of the whole part:

This lyrically agitated theme is close both in character and in its melodic pattern to the side part of the first movement. She is also elevated, pathetic, but her pathos has a more restrained character. The melody of the refrain is very expressive.

It is quickly remembered, it can be easily sung.

The refrain alternates with two other themes. The first of them (side part) is very mobile, it is set out in E-flat major.

The second is given in polyphonic presentation. This is the episode replacing development:

The finale, and with it the entire sonata, ends with a coda. Energetic, strong-willed music, akin to the moods of the first part, sounds. But the stormy impetuosity of the themes of the first part of the sonata gives way here to decisive melodic turns, expressing courage and inflexibility:

What new things did Beethoven bring to the "Pathétique Sonata" in comparison with the sonatas of Haydn and Mozart? First of all, the nature of music has changed, reflecting the deeper, more significant thoughts and experiences of a person (Mozart's sonata in C minor (with fantasy) can be considered as the immediate predecessor of Beethoven's Pathetique Sonata). Hence - a comparison of sharply contrasting themes, especially in the first part. The contrasting juxtaposition of the themes, and then their "collision", "struggle" gave the music a dramatic character. The great intensity of the music also caused a great power of sound, the scope and complexity of the technique. In some moments of the sonata, the piano acquires, as it were, an orchestral sound. The "Pathetic Sonata" has a much larger volume than the sonatas of Haydn and Mozart, it lasts longer in time.

"Moonlight Sonata" (#14)

The most inspired, poetic and original works of Bekhoven belong to the "Moonlight Sonata" (op. 27, 1801) *.

* This title, which is essentially very little suited to the tragic mood of the sonata, does not belong to Beethoven. So it was called by the poet Ludwig Relshtab, who compared the music of the first part of the sonata with the landscape of Lake Firwaldstet on a moonlit night.

In a sense, the Moonlight Sonata is the antipode of the Pathetique. There is no theatricality and operatic pathos in it, its sphere is deep spiritual movements.

During the creation of "Lunar" Beethoven generally worked on updating the traditional sonata cycle. Thus, in the Twelfth Sonata, the first movement is written not in sonata form, but in the form of variations; The thirteenth sonata is of improvisational free origin, without a single sonata allegro; in the Eighteenth there is no traditional "lyrical serenade", it is replaced by a minuet; in Twenty-first, the second part turned into an extended introduction to the finale, and so on.

In line with these searches is the cycle "Lunar"; its form differs significantly from the traditional one. And, however, the features of improvisation inherent in this music are combined with the usual logical harmony for Beethoven. Moreover, the sonata cycle "Lunar" is marked by a rare unity. The three parts of the sonata form an inseparable whole, in which the role of the dramatic center is played by the finale.

The main departure from the traditional scheme is the first part - Adagio, which neither in general expressive appearance nor in form is in contact with the classicist sonata.

In a sense, Adagio can be perceived as a prototype of the future romantic nocturne. It is imbued with a deep lyrical mood, it is colored with gloomy tones. Some common stylistic features bring it closer to the romantic chamber-piano art. Of great and, moreover, independent importance is the same type of texture sustained from beginning to end. Also important is the method of opposing two plans - the harmonic "pedal" background and the expressive melody of the cantilena warehouse. The muffled sound that prevails in Adagio is characteristic.

Schubert's "Impromptu", nocturnes and preludes by Chopin and Field, "Songs Without Words" by Mendelssohn and many other pieces of romantics go back to this amazing "miniature" from the classicist sonata.

And at the same time, this music is at the same time different from the dreamy romantic nocturne. It is too deeply imbued with chorale, sublimely prayerful mood, depth and restraint of feelings, which are not associated with subjectivity, with a changeable state of mind, inseparable from romantic lyrics.

The second part - a transformed graceful "minuet" - serves as a light interlude between the two acts of the drama. And at the end, a storm breaks out. The tragic mood, contained in the first part, breaks here in an unrestrained stream. But again, purely in Beethoven's way, the impression of unbridled, unfettered emotional excitement is achieved through strict classicist methods of shaping *.

* The form of the finale is a sonata allegro with contrasting themes.

The main constructive element of the finale is a laconic, invariably repeating motif, intonationally associated with the chordal texture of the first movement:

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The finale anticipates the Fifth Symphony in its formative principles: an expressive mournful motif, based on the principle of dance rhythmic ostinato, permeates the development of the entire movement, playing the role of its main architectonic cell. In the Sixteenth Sonata (1802), the etude-piaist techniques become a means of creating a scherzo-humorous image. Unusual here are the terts tonal

ratios in the exposition (C-dur - H-dur), anticipating the development of the "Pastoral Symphony".

The eighteenth (1804), large-scale and somewhat free in cyclic structure (the second part here is a marching scherzo, the third is a lyrical minuet), combines the features of the classicist distinctness of thematism and rhythmic movement with the dreaminess and emotional freedom inherent in romantic art.

Dance or humorous motifs sound in the Sixth, Twenty-second and other sonatas. In a number of compositions, Beethoven emphasizes new virtuoso pianistic tasks (except for the mentioned Lunar, Aurora and Sixteenth, also in the Third, Eleventh and others). He always connects the technique with the new expressiveness he develops in piano literature. And although it was in Beethoven's sonatas that the transition from harpsichord playing to modern pianistic art took place, the development of pianism in the 19th century did not generally coincide with the specific virtuosity developed by Beethoven.

Conclusion

As a result of the study, the following conclusions were drawn.

The piano sonata genre has come a long way in the work of the Viennese classics J. Haydn and V.A. Mozart. Haydn's sonatas were the most important of the clavier compositions. He, in this genre, is looking for the image of an ideal sonata. It is this that can explain the fact that his sonatas are two, three, four and even five-part. For Haydn, expressiveness, development and transformation of the material is very important.

Mozart, in turn, does not avoid difficulties either. His sonatas are very pianistic and easy to play. The style of his sonatas evolves through the complication of thematics and development.

L. Beethoven completes the stage of development of the classical sonata. The sonata genre in his work becomes the leading one. Beethoven discovers a new romantic art, which is dominated not by external dramas, but by the inner experiences of the hero. Beethoven is not afraid of sharp and strong accents, the straightforwardness of the melodic pattern. Such a revolution in Beethoven's work is the transition from the old style to the new.

All the events of Beethoven's life were reflected in the sonata work of the early period.

The early sonatas are 20 sonatas written by Beethoven between 1795 and 1802. These sonatas reflected all the main features of the composer's creative style of the early period.

In the process of the formation of the early sonatas, the composer's style and musical language evolved. In the process of analyzing some of the piano sonatas of the early period, we have identified the following features: in his music, not only the exquisite ornamentation, inseparable from the style of expression of the 18th century, has disappeared. The balance and symmetry of the musical language, the smoothness of rhythm, the chamber transparency of sound - these stylistic features, characteristic of all of Beethoven's Viennese predecessors without exception, were also gradually ousted from his musical speech. The sound of his music became saturated, dense, dramatically contrasting; his themes acquired hitherto unprecedented conciseness, severe simplicity.

Thus, the early sonata work played a significant role in the formation of Beethoven's style and influenced all his further works.

Bibliography

1. Alshvang A. L.V. Beethoven. Essay on life and creativity. Fifth edition-M.: Muzyka, 1977.

Kirillina L.V. Beethoven life and work: In 2 volumes. NIC "Moscow Conservatory", 2009.

Konen V. History of foreign music. From 1789 to the middle of the XIX century. Issue 3 - M.: Music, 1967.

Kremlev Yu, Beethoven's Piano Sonatas. M.: Music, 1970.

Livanova T. History of Western European Music until 1789. - M.: Music, 1982

Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu.V. Keldysh.

Pavchinsky S. Some innovative features of Beethoven's style. M., 1967.

Protopopov V.V. Sonata form in Western European music in the second half of the 19th century / V.V. Protopopov. M.: Music 2002

Prokhorova I. Musical literature of foreign countries. - M.: Music, 2002

Fishman H.L., Ludwig van Beethoven. On piano performance and pedagogy, in: Issues of piano pedagogy, issue 1, M., 1963 p.118-157

11.

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

Acquaintance with Juliet Guicciardi

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

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

Gap

The history of the creation of Beethoven's Moonlight Sonata, in fact, repeats all the vicissitudes of this personal drama of the composer. Juliet loved her teacher, and at first it seemed that marriage was on the way. However, the young coquette subsequently preferred a prominent count to a poor musician, whom she eventually married. This was a heavy blow for the composer, which was reflected in the second part of the work in question. It feels pain, anger and despair, which contrast sharply with the serene sound of the first movement. The author's depression was exacerbated by hearing loss.

Disease

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

Beethoven was famous for being able to accurately select the right notes, choosing the right musical shades and keys from the rich palette of the orchestra. Now it was becoming more and more difficult for him to work every day. The gloomy mood of the composer was also reflected in the work in question, in the second part of which the motive of a rebellious impulse sounds, which seems to find no way out. Undoubtedly, this theme is connected with the torments that the composer experienced when writing a melody.

Name

Of great importance for understanding the composer's work is the history of the creation of Beethoven's Moonlight Sonata. Briefly, the following can be said about this event: it testifies to the composer's impressionability, as well as how close he took this personal tragedy to his heart. Therefore, the second part of the work is written in an angry tone, which is why many believe that the title does not match the content.

However, the composer's friend, poet and music critic Ludwig Relshtab, she recalled the image of a lake at night with moonlight. The second version of the origin of the name is connected with the fact that at the time under consideration the fashion for everything that was somehow connected with the moon dominated, so contemporaries willingly accepted this beautiful epithet.

Further fate

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

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

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

We continue the list of Beethoven's famous 32 piano sonatas. On this page you will see brief information about the second sonata from this cycle.

Brief information:

• Artwork number: Or.2, No.2
• Key: A major
• Synonyms: Beethoven's second piano sonata
• Number of parts: 4
• When was it published: 1796
• To whom is dedicated: as well as two other works of this opus ( and the third sonata), this work is also dedicated to Joseph Haydn, by that time already a former teacher of Beethoven.

Brief description of sonata No. 2.

Renowned musicologist Donald Tovey described this work as "An impeccably executed work that transcends the traditions of Haydn and Mozart in terms of both harmony and dramatic thought, with the exception of the Finale".

This work enters into a strong contrast between the first and third sonatas published under the same opus. In fact, if we contrast the nature of the second sonata with most of Beethoven's other works, then we can assume that in those days (and these were) the composer, as it were, looking for a compromise.

On the one hand, we observe the makings of a “late Beethoven” already in the first works of the composer, including from the same opus, where Beethoven’s aggressive (in a good way) temperament is simply impossible not to notice. But on the other hand, the rapidly growing fame of the young virtuoso pianist and his acquaintance with influential Viennese aristocrats, as it were, "kept the composer's emotions in check", forcing him to imitate the composition format of that time.

After all, Beethoven in those days was known not so much as a composer, but as virtuoso pianist. Therefore, it was too early for the not yet fully established composer to splash out all his temperament on a sheet of music - and, most likely, the audience would not understand him.

Moreover, the sonata was dedicated not to anyone, but to himself. Haydn, who, as we know, was a staunch conservative in the field of composition and did not particularly approve of the innovative trends of his student, Ludwig. Therefore, the young composer at that time could not yet afford to release all his composer's power hidden in the shadows to creative freedom. Moreover, in the first sonata, Beethoven left a visible imprint of his characteristic temperament.

Indeed, if a quick glance compares all parts of this work with the "First Sonata", then you can immediately find that in the aggregate the "Second Sonata" is completely not filled with the same characteristic of the composer's later works. dramatic, which we clearly observe in the previous work.

On the contrary, in Beethoven's second sonata we see the same "major" not only in the key, but also observe it in the character of the work itself. However, even in this seemingly compromise sonata, Beethoven's style still slips in places.

Listening piece by piece

As in the case of the first sonata of this opus, the second sonata is in four movements:

1. Allegro vivace
2. Largo appassionato (D major)
3. Scherzo: Allegretto
4. Rondo: Grazioso

Part 1. Allegro vivace

The first movement is a fairly bright and rich work, combining both playful notes of Haydn's sonatas (literally from the first notes) and serious virtuosic elements, including scale movements of 16 triplets in the main part.

However, the playful “Haydnian” introduction, as well as the rhythmically clear and at the same time cheerful playing of the already “Beethovenian” cadences, which at first promise fun and joy, are gradually replaced by an almost romantic side part, starting in E minor.

The minor beginning of the side part moves forward excitedly and, as if rising along the ascending line, becomes more and more anxious. And suddenly, already at the very climax, as if deceiving the listener, the melody screams: “Well, listener, fell for deceit? “There is nothing to be sad, it’s a major!”- and from that moment we again hear notes of joy.

In general, listen for yourself:

Movement 2. Largo appassionato (D major)

It is a rather rare case in the repertoire of Beethoven's compositions when the composer uses such a slow tempo marking as "Largo".

In this movement, a high degree of Beethoven's own contrapuntal thinking is evident, with minimal influence from the style of older composers.

From the first notes, the melody willy-nilly imposes an association with some quartet. It seems as if the melody was, indeed, first written for a string quartet, and then it was simply transferred to the piano keyboard.

It is interesting to imagine what it was like for pianists of that time to translate this idea of ​​the composer into reality, taking into account the peculiarities of sound production on instruments of that time!

In general, you can listen to part 2 of Beethoven's second sonata in the video below:

Part 3. Scherzo: Allegretto

Although the "Scherzo" is used here, one might say, instead of the traditional minuet, it still very much resembles a minuet.

A short yet graceful movement starting with cheerful and playful notes and ending with them, in the middle it is diluted with a rather contrasting and interesting "Trio".

Part 4. Rondo: Grazioso

On the one hand - a beautiful and lyrical rondo, but on the other hand, many musicologists consider it a kind of "concession" of the young Beethoven.

If Beethoven's emotionality is still visible in the first two parts of this sonata, then in the fourth part, many observe an almost mathematically planned logical conclusion.

As if Beethoven did not express his emotions in this part, but showed what the Viennese public was used to and wanted to hear. There is even an opinion that Beethoven in this way, as it were, mocks the Viennese public, they say “If you want this kind of music, then get it!”.

Although, in some details, Beethoven's temperament is still visible. Only here the storm does not sweep away everything in its path, but only occasionally makes itself felt!

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 Natalia

Head Mamcheva N.A.

Reviewer

Yuzhno-Sakhalinsk

WORK PLAN

I INTRODUCTION

1. Relevance of the work

2. Goals and objectives of the work

II MAIN PART

1. A brief theoretical 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 up before music: on a par with other manifestations of the spiritual culture of mankind, it [sonata form] could, by its own means, express the complex and refined content of the ideas and feelings of the 19th century.”

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-symphonic 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 1).

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

This sonata, published (under the title "great sonata") in 1797, was dedicated to Beethoven's young student, Countess Babette Keglevich, and, according to K. Czerny, received, after its publication, the title "In Love" ("Die Verliebte") .

The composition of the sonata coincided with a bright, cheerful period in Beethoven's life. Lenz believed that this work is “already a thousand miles from the first three sonatas. Here the lion is shaking the crossbars of the cage, where the ruthless school still keeps him locked up! Lenz's formulations are somewhat exaggerated, but Beethoven's major further steps towards originality in this sonata are undeniable.

First part(Allegro molto e con brio, Es-dur) did not find particularly zealous admirers. However, its positive qualities should not be underestimated. There is no exciting contrast here, as in the first part of the third sonata. The soft lyrical beginning is almost absent. But heroic fanfare, overcoming the traditions of hunting horns, is widely developed. Beethoven also finds new expressive moments - first of all, the following strong effect of chiaroscuro:

full of vivid drama and reminiscent of the images of the heroic symphony. (This effect is so strong and expressive that Beethoven wisely avoids repeating it in the reprise.)

Among Beethoven's early works, the first movement of the sonata op. 7 stands out as an example of the richness of the thematic composition and the vastness of the form. There is a progressive, innovative desire of the composer to monumentalize the form, increase its scale and, at the same time, saturate this form with the power of content. But so far, in the early sonatas, Beethoven has not yet managed to achieve that genuine monumentalism, to which he comes later. There is still a certain contradiction, inconsistency between the breadth of forms and the abundance of particulars, between the scope of the idea and the traditional pettiness of melos. This contradiction is especially noticeable in this movement due to the detailing of the rhythm chosen by the composer, which is almost entirely based on the fast, winding run of eighths and sixteenths. The appearance of a side part in the code is perceived as a kind of luxury. But the ability to extract diverse expressive possibilities from the simplest rhythmic relationships, as always with Beethoven, is amazing.

I would like to especially note the expressive episode of the final game. After the fanfare progression of broken octaves, the run-up of the chromatic scale and two bars of descending eighths with mordents (bars 101-110), on the organ  point of the tonic in B-flat major, a melody of a middle voice sounds alarmingly, accompanied by arpeggios of the right hand:

This is a moment of doubt, hesitation, mental weakness - moods that are little developed in this sonata, unlike a number of others. Beethoven hurries to deal with a brief lyrical digression and sweeps it aside with loud fanfare syncopations of the last bars of the exposition. In the reprise, this episode is completely pushed aside by an extensive coda.

ABOUT second part sonatas (Largo, con gran espressione, C-dur) were written by many. Lenz and Ulybyshev speak enthusiastically about her. The latter, by the way, protests against the remark of the young Balakirev, who reproached Largo for lack of originality, for Mozart's influences. A. Rubinstein admires the end of Largo (with its chromatic basses), which is "worth a whole sonata".

Romain Rolland finds in Largo "a big, serious melody of strong design, without secular cloying, without ambiguity of feelings, frank and healthy: this is Beethoven's meditation, which, concealing nothing in itself, is accessible to everyone."

There is a grain of truth in the words of Romain Rolland. The Largo of the Fourth Sonata has a specific strict simplicity, the sublime civility of its images, so related to it with the mass music of the French Revolution. Majestically solemn are the opening chords, separated by "talking" pauses. As soon as there is a hint of lyrical tenderness, it immediately disappears into an important severity. Such “moments as in vols. 20-21, where loud, staccato bass chords are suddenly heard after pianissimo; or in m. 25, etc., where, with the transition to As-dur, a procession seems to be unfolding; or in tt. 37-38 with their juxtaposition of extreme registers and sonorities (like tutti and flute): (This is an early example of Beethoven's favorite large register distances in piano texture.)

All such and similar moments create the impression of space, open air, large moving masses, despite the intimacy of piano means of expression. Precisely, in terms of a rich, massive interpretation of the piano, Beethoven appears here as an innovator.

Compared to Beethoven's later Adagios, there is no smooth, melodious fluidity of the melody. But this absence is compensated for by an enormous rhythmic richness. And pauses and interruptions in movement, in the end, contribute to the versatility, picturesqueness of the image.

It is also necessary to note the altered tertian relation of the tonality of this movement (C-dur) to the tonality of the first part of the sonata (Es-dur). As in the previous sonata (the first part is C-dur, the second - E-dur), Beethoven originally uses altered tonal mediants, rare among his predecessors and subsequently beloved by romantics.

 The third part is, in essence, a scherzo (Allegro, Es-dur). It is interesting to compare the attitude of two connoisseurs of different eras towards this part. Lenz defines the first part of the scherzo as a pastoral painting ("the most joyful company that ever gathered on the lakeshore, on a green lawn, in the shade of old trees, to the sound of a country pipe"); the contrast of the trio in minor seems to Lenz inappropriate. On the contrary, this sharp contrast rather delights A. Rubinshtein.

We think that in this part one must see both the courage, the initiative of Beethoven's contrasting plan, and the still known mechanicalness of its implementation.

In fact, the first part of the scherzo, despite the fleetingly slipping E-flat minor, is sustained in the spirit of old pastorals. Only the extraordinary dynamic variety of rhythm immediately betrays Beethoven.

On the contrary, in the trio there is an obvious leap to the Beethoven of the middle, mature period, to the powerful, dramatic choral harmonies of "pathetic", "lunar" and "appassionata". This is a clear sketch of future ideas, not yet developed, somewhat constrained in rhythm and texture, but extremely promising.

As for the end of the trio, the dreary intonations characteristic of it, plagal turns, thirds and fifths of chords that stand out in the melody already sound completely romantic:

The emotionally figurative preponderance of the trio over the first part of the scherzo is so great that the reprise of this part is no longer able to restore a light bucolic mood.

Only the final sonatas (Rondo, Roso allegretto e grazioso, Es-dur) fixes our perception in the cheerful E-flat major.

According to Lenz, the gentle, graceful music of the rondo "breathes with that faith in feeling, which is the happiness of a young age." Romain Rolland assures us that in the finale of the fourth sonata, "the feeling is like a child running around and hugging your knees."

We believe that the last wording is one-sided - it can only be attributed to the first topic. Along with graceful and insinuating moments containing many echoes of the gallant style, there are, after all, stormy impulses of a completely Beethovenian C minor in the rondo! But, of course, the patterning of polite (somewhat sly) speech prevails, in connection with which the ornament is widely developed, and the drama is given, as it were, in the background.

The characteristic impulses of virtuoso pianistic "eloquence" constitute here the historical link between Mozart and Weber. Moreover, perhaps the most remarkable for its innovation is the piano texture of the rondo coda, where the charming euphony of the quiet rumble of bass arpeggios and the ringing of grace notes of the right hand portends the pedal coloristic effects of the romantics. The images of the rondo seem to be carried away into the distance to the sounds of poetic bells and freeze.

The concept of the fourth sonata as a whole cannot be called completely monolithic and complete. The fermentation of still unsettled creative forces is felt too strongly, seeking scale, but not yet mastering the elements that have been called to life.

In the first part, the heroic, trying to break out into the expanse of broad forms, still does not find full-fledged contrasts. In the second part, as a creative revelation, are majestic images of civic emotions. In the third movement, the trio's passionate, deep sadness overwhelms the traditional bucolic overtones. In the last movement, the composer is not so much looking for a synthesis as mysteriously, half-mockingly hushing up everything that directly escaped from the soul, with elegant, polite speeches of the rondo. They can best be defined as "excuses."

All musical quotations are given according to the edition: Beethoven. Sonatas for piano. M., Muzgiz, 1946 (edited by F. Lamond), in two volumes. Bar numbering is also given in this edition.