The second part of the moonlight sonata description. Immortal Sounds of the Moonlight Sonata

The girl won the heart of the young composer and then brutally broke him. But it is to Juliet that we owe the fact that we can listen to the music of the best sonata of a brilliant composer that penetrates so deeply into the soul.

The full name of the sonata is “piano sonata No. 14 in C-sharp minor, op. 27, No. 2". "Lunar" is the name of the first movement of the sonata, this name was not given by Beethoven himself. The German music critic, poet and friend of Beethoven, Ludwig Relshtab compared the first movement of the sonata with "moonlight over Lake Firwaldstet" after the author's death. This "nickname" turned out to be so successful that it instantly became stronger all over the world, and until now most people believe that "Moonlight Sonata" is the real name.

The sonata has another name "Sonata - Arbor" or "Garden House Sonata". According to one version, Beethoven began to write it in the gazebo of the Brunvik aristocratic park in Korompa.

The music of the sonata seems simple, concise, clear, natural, while it is full of sensuality and goes “from heart to heart” (these are the words of Beethoven himself). Love, betrayal, hope, suffering, everything is reflected in the Moonlight Sonata. But one of the main ideas is the ability of a person to overcome difficulties, the ability to revive, this is the main theme of all the music of Ludwig van Beethoven.

Ludwig van Beethoven (1770-1827) was born in the German city of Bonn. The years of childhood can be called the most difficult in the life of the future composer. It was difficult for a proud and independent boy to survive the fact that his father, a rude and despotic man, noticing his son's musical talent, decided to use him for selfish purposes. Forcing little Ludwig to sit at the harpsichord from morning till night, he did not think that his son needed childhood so much. At the age of eight, Beethoven earned his first money - he gave a public concert, and by the age of twelve the boy was playing the violin and organ freely. Together with success, isolation, a need for solitude and unsociableness came to the young musician. At the same time, Nefe, his wise and kind mentor, appeared in the life of the future composer. It was he who instilled in the boy a sense of beauty, taught him to understand nature, art, to understand human life. Nefe taught Ludwig ancient languages, philosophy, literature, history, and ethics. Subsequently, being a deeply and broadly thinking person, Beethoven became an adherent of the principles of freedom, humanism, equality of all people.

In 1787 the young Beethoven left Bonn for Vienna.
Beautiful Vienna - a city of theaters and cathedrals, street orchestras and love serenades under the windows - won the heart of a young genius.

But it was there that the young musician was struck by deafness: at first the sounds seemed muffled to him, then he repeated the unheard phrases several times, then he realized that he was finally losing his hearing. “I drag out a bitter existence,” Beethoven wrote to his friend. - I'm deaf. With my craft, nothing can be more terrible ... Oh, if I got rid of this disease, I would embrace the whole world.

But the horror of progressive deafness was replaced by happiness from a meeting with a young aristocrat, an Italian by birth, Giulietta Guicciardi (1784-1856). Juliet, daughter of the wealthy and noble Count Guicciardi, arrived in Vienna in 1800. Then she was not even seventeen, but the love of life and charm of a young girl conquered the thirty-year-old composer, and he immediately confessed to his friends that he fell in love passionately and passionately. He was sure that the same tender feelings arose in the heart of a mocking coquette. In a letter to his friend, Beethoven emphasized: "This wonderful girl is so much loved by me and loves me that I observe a striking change in myself precisely because of her."

Juliet Guicciardi (1784-1856)
A few months after their first meeting, Beethoven invited Juliet to take some free piano lessons from him. She gladly accepted this offer, and in return for such a generous gift, she presented her teacher with several shirts embroidered by her. Beethoven was a strict teacher. When he didn’t like Juliet’s playing, he was annoyed and threw notes on the floor, defiantly turned away from the girl, and she silently collected notebooks from the floor. Six months later, at the peak of his feelings, Beethoven began to create a new sonata, which after his death will be called "Moon". It is dedicated to the Countess Guicciardi and was started in a state of great love, delight and hope.

In turmoil in October 1802, Beethoven left Vienna and went to Heiligenstadt, where he wrote the famous “Heiligenstadt Testament”: “Oh, you people who think that I am malicious, stubborn, ill-mannered - how unfair you are to me; you do not know the secret reason for what you think. Since childhood, I have been predisposed in my heart and mind to a tender feeling of kindness, I have always been ready to do great things. But just think that for six years now I have been in an unfortunate state ... I am completely deaf ... "
Fear, the collapse of hopes give rise to thoughts of suicide in the composer. But Beethoven gathered his strength and decided to start a new life and, in almost absolute deafness, created great masterpieces.

Several years passed, and Juliet returned to Austria and came to Beethoven's apartment. Crying, she recalled the wonderful time when the composer was her teacher, talked about the poverty and difficulties of her family, asked to forgive her and help with money. Being a kind and noble man, the maestro gave her a significant amount, but asked her to leave and never appear in his house. Beethoven seemed indifferent and indifferent. But who knows what was going on in his heart, torn by numerous disappointments. At the end of his life, the composer will write: “I was very loved by her and more than ever, was her husband ...”

Brunswick sisters Teresa (2) and Josephine (3)

Trying to permanently erase his beloved from his memory, the composer met with other women. Once, when he saw the beautiful Josephine Brunswick, he immediately confessed his love to her, but in response he received only a polite, but unequivocal refusal. Then, in desperation, Beethoven proposed to Josephine's older sister, Teresa. But she did the same, inventing a beautiful fairy tale about the impossibility of meeting with the composer.

The genius repeatedly recalled how women humiliated him. One day, a young singer from the Viennese theater, when asked to meet with her, replied with a sneer that “the composer is so ugly in appearance, and besides, it seems too strange to her” that she did not intend to meet with him. Ludwig van Beethoven really did not look after his appearance, often remained untidy. It is unlikely that he could be called independent in everyday life, he needed the constant care of a woman. When Juliet Guicciardi, while still a student of the maestro, and noticing that Beethoven's silk bow was not tied in such a way, tied it up, kissing him on the forehead, the composer did not take off this bow and did not change clothes for several weeks, until his friends hinted at his not quite fresh look suit.

Too sincere and open, contemptuous of hypocrisy and servility, Beethoven often seemed rude and ill-mannered. Often he expressed himself obscenely, which is why many considered him a plebeian and an ignorant boor, although the composer simply spoke the truth.

In the autumn of 1826, Beethoven fell ill. Exhausting treatment, three complex operations could not put the composer on his feet. All winter he, without getting out of bed, absolutely deaf, suffered from the fact that ... he could not continue to work.
The last years of the composer's life are even more difficult than the first. He is completely deaf, he is haunted by loneliness, illness, poverty. Family life did not work out. He gives all his unspent love to his nephew, who could replace his son, but grew up as a deceitful, two-faced loafer and spendthrift, who shortened Beethoven's life.
The composer died of a serious, painful illness on March 26, 1827.

Beethoven's grave in Vienna
After his death, a letter “To an immortal beloved” was found in a desk drawer (So Beethoven titled the letter himself (A.R. Sardaryan): “My angel, my everything, my self ... Why is deep sadness where necessity reigns? Is it our love can only endure at the cost of sacrifice by refusing to be full, can't you change the situation in which you are not completely mine and I am not completely yours? What a life! Without you! So close! So far! What longing and tears for you - you - you, my life, my everything ... ".

Many will then argue about who exactly the message is addressed to. But a small fact points specifically to Juliet Guicciardi: next to the letter was kept a tiny portrait of Beethoven's beloved, made by an unknown master

Immortal Sounds of the Moonlight Sonata

1. Feelings of loneliness, unrequited love, embodied in the music of L. Beethoven's Moonlight Sonata.
2. Understanding the meaning of the metaphor "Ecology of the human soul".

Music material:

1. L. Beethoven. Sonata No. 14 for piano. Part I (hearing); II and III parts (at the request of the teacher);
2. A. Rybnikov, lyrics by A. Voznesensky. "I will never forget you" from the rock opera "Juno and Avos" (singing).

Characteristics of activities:

1. Recognize and talk about the influence of music on a person.
2. To identify the possibilities of the emotional impact of music on a person.
3. Evaluate musical works from the standpoint of beauty and truth.
4. Recognize the intonational and figurative foundations of music.
5. Recognize by characteristic features (intonation, melodies, harmonies) the music of individual outstanding composers (L. Beethoven)

“Music in itself is passion and mystery.
Words speak of the human;
music expresses what no one knows, no one can explain,
but what is more or less in everyone ... "

F. Garcia Lorca(Spanish poet, playwright, also known as a musician and graphic artist)

Such eternal sources of suffering as loneliness or unrequited love do not appear pitiful at all in art, on the contrary: they are filled with a kind of grandeur, because it is they who reveal the true dignity of the soul.

Beethoven, rejected by Giulietta Guicciardi, writes the "Moonlight" sonata, even with its dusk illuminating the peaks of world musical art. What is it about this music that attracts new and new generations to it? What immortal song resounds in the Moonlight Sonata, triumphing over all the estates of the world, over vanity and delusion, over fate itself?

Wealth along with power freely roam,
Entering the ocean of good and evil,
When they leave our hands;
Love, even if it was wrong,
Immortal, abide in immortality,
Everything will surpass what was - or will be.

(P. B. Shelley. Love is immortal)

The Moonlight Sonata is one of the most popular works of the great composer and is one of the most remarkable works of world piano music. Lunar owes its well-deserved fame not only to the depth of feelings and the rare beauty of the music, but also to its amazing integrity, thanks to which all three parts of the sonata are perceived as something unified, inseparable. The entire sonata is an increase in a passionate feeling, reaching a real mental storm.

Sonata No. 14 in C-sharp minor (cis-moll op. 27 No. 2, 1801) became famous during Beethoven's lifetime. The name "Lunar" she received with a light hand of the poet Ludwig Relshtab. In the short story "Theodore" (1823), Relshtab described the night on Lake Firwaldstet in Switzerland: "The surface of the lake is illuminated by the shimmering radiance of the moon; the wave muffledly hits the dark shore; gloomy mountains covered with forests separate this sacred place from the world; swans, like spirits, swim by with a rustling splash, and from the side of the ruins the mysterious sounds of an aeolian harp are heard, plaintively singing about passionate and unrequited love.

Readers easily associated this romantic landscape with the long-established Part I of Beethoven's sonata, especially since all these associations looked completely natural to the ears of musicians and the public of the 1820s and 1830s.

Ghostly arpeggios on the foggy enveloping right pedal (an effect possible on pianos of that time) could be perceived as the mystical and melancholic sound of an aeolian harp, an instrument that was extremely common at that time in everyday life and in gardens and parks. The soft swaying of the triplet figures even visually resembled light ripples on the surface of the lake, and the majestic and mournful melody floating over the figurations - like the moon illuminating the landscape, or a swan, almost ethereal in its pure beauty.

It is difficult to say how Beethoven would have reacted to such interpretations (the Relshtab visited him in 1825, but, judging by the poet's memoirs, they discussed completely different topics). It is possible that the composer would not have found anything unacceptable in the picture drawn by Relshtab: he did not mind when his music was interpreted with the help of poetic or pictorial associations.

Relshtab caught only the outer side of this brilliant creation of Beethoven. In fact, behind the pictures of nature, the personal world of a person is revealed - from concentrated, calm contemplation to extreme despair.

Just at this time, when Beethoven felt the approach of deafness, he felt (or, at least, it seemed to him) that for the first time in his life true love came to him. He began to think of his charming student, the young Countess Juliet Guicciardi, as his future wife. “... She loves me, and I love her. These are the first bright minutes in the last two years,” Beethoven wrote to his doctor, hoping that the happiness of love would help him overcome his terrible illness.
And she? She, brought up in an aristocratic family, looked down on her teacher - albeit of a famous, but humble origin, and besides, deafening.
“Unfortunately, she belongs to a different class,” Beethoven admitted, realizing what an abyss lies between him and his beloved. But Juliet could not understand her brilliant teacher, she was too frivolous and superficial for this. She dealt Beethoven a double blow: she turned away from him and married Robert Gallenberg, a mediocre music composer, but a count ...
Beethoven was a great musician and a great person. A man of titanic will, a mighty spirit, a man of lofty thoughts and deepest feelings. How great must have been his love, and his sufferings, and his desire to overcome these sufferings!
"Moonlight Sonata" was created in this difficult time of his life. Under its real name "Sonata quasi una Fantasia", that is, "Sonata like a fantasy", Beethoven wrote: "Dedicated to Countess Giulietta Guicciardi" ...
“Listen now to this music! Listen to it not only with your ears, but with all your heart! And perhaps now you will hear in the first part such immeasurable sorrow as you have never heard before; in the second part - such a bright and at the same time such a sad smile, which had not been noticed before; and, finally, in the finale - such a stormy boiling of passions, such an incredible desire to break out of the shackles of sadness and suffering, which only a true titan can do. Beethoven, struck by misfortune, but not bent under its weight, was such a titan. D. Kabalevsky.

Sounds of music

The first movement of the Lunar Adagio sostenuto differs sharply from the first movements of Beethoven's other sonatas: there are no contrasts or abrupt transitions in it. The unhurried, calm flow of music speaks of a pure lyrical feeling. The composer noted that this part requires the "most delicate" performance. The listener definitely enters the enchanted world of dreams and memories of a lonely person. Slow, wave-like accompaniment gives rise to singing full of deep expressiveness. The feeling, at first calm, very concentrated, grows to a passionate appeal. Calmness gradually sets in, and again a sad, full of melancholy melody is heard, then fading in deep basses against the background of continuously sounding waves of accompaniment.

The second, very small, part of the "Moonlight" sonata is full of soft contrasts, light intonations, the play of light and shadow. This music has been compared to the dances of the elves from Shakespeare's A Midsummer Night's Dream. The second part serves as a wonderful transition from the dreaminess of the first part to the mighty, proud finale.

The finale of the "Moonlight" sonata, written in a full-blooded, rich sonata form, is the center of gravity of the work. In a swift whirlwind of passionate impulses, themes are rushing through - menacing, plaintive and sad - a whole world of an agitated and shocked human soul. A real drama is being played out. The “Moonlight” sonata, for the first time in the world history of music, gives such a rare image of the artist's spiritual world in integrity.

All three parts of "Lunar" give the impression of unity due to the finest motivic work. In addition, many of the expressive elements contained in the restrained first movement develop and culminate in a stormy dramatic finale. The rapid upward movement of the arpeggios in the final Presto begins with the same sounds as the calm undulating beginning of the first movement (tonic triad in C-sharp minor). The very upward movement through two or three octaves came from the central episode of the first movement.

Love is immortal: even though it is a rare guest in the world, it still exists as long as works like the Moonlight Sonata are heard. Isn't this the high ethical (ethical - moral, noble) value of art, capable of educating human feelings, calling people to goodness and mercy with each other?

Think about how thin and gentle the inner world of a person is, how easy it is to hurt, hurt, sometimes for many years. We are increasingly aware of the need to protect the environment, the ecology of nature, but we are still blind to the "ecology" of the human soul. But this is the most dynamic and mobile world, which sometimes declares itself when nothing can be corrected.

Listen to all sorts of shades of sadness that music is so rich in, and imagine that living human voices tell you about their sorrows and doubts. Indeed, often we act carelessly not because we are evil by nature, but because we do not know how to understand other people. This understanding can be taught by music: you just need to believe. That it contains not some abstract ideas, but real, today's problems and sufferings of people.

Questions and tasks:

1. What "immortal song" sounds in L. Beethoven's Moonlight Sonata? Explain your answer.
2. Do you agree with the statement that the problem of the "ecology" of the human soul is one of the most important, urgent problems of mankind? What should be the role of art in its solution? Think about it.
3. What problems and sufferings of people are reflected in the art of the present? How are they implemented?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Beethoven. Moonlight Sonata:
I. Adagio sostenuto, mp3;
II. allegretto .mp3;
III. Presto agitato, mp3;
Beethoven. Moonlight Sonata, part I (performed by a symphony orchestra), mp3;
3. Accompanying article, docx.

The heroic-dramatic line far from exhausts all the versatility of Beethoven's searches in the field of the piano sonata. The content of "Lunar" is connected with something else, lyrical-dramatic type.

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

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

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

• Part I (Adagio) - mournful realization of a life tragedy;
• Part II (Allegretto) - pure joy, suddenly flashed before the mind's eye;
• Part III (Presto) - a psychological reaction: a mental storm, an outburst of violent protest.

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

The rebelliousness of the finale, its extreme emotional intensity turns out to be the reverse side of the silent sorrow of Adagio. What is concentrated in itself in the Adagio breaks out in the finale, this is a discharge of the internal tension of the first part (manifestation of the principle of derivative contrast at the level of the ratio of the parts of the cycle).

1 part

IN Adagio Beethoven's favorite principle of dialogical oppositions gave way to lyrical monologues - the one-dark principle of solo melody. This speech melody, which “sings while crying” (Asafiev), is perceived as a tragic confession. Not a single pathetic exclamation breaks inner concentration; sorrow is strict and silent. In the philosophical fullness of Adagio, in the very silence of sorrow, there is a lot in common with the drama of Bach's minor preludes. Like Bach, the music is full of internal, psychological movement: the size of the phrases is constantly changing, the tonal-harmonic development is extremely active (with frequent modulations, invading cadences, contrasts of the same-name modes E - e, h - H). Interval ratios sometimes become emphatically sharp (m.9, b.7). From Bach's free prelude forms, the ostinato pulsation of the triplet accompaniment also originates, sometimes coming to the fore (transition to the reprise). Another textured layer of Adagio is the bass, almost passacal, with a measured downward step.

There is something mournful in Adagio - the dotted rhythm, which asserts itself with special insistence in the conclusion, is perceived as the rhythm of a mourning procession. Form Adagio 3x is a private developing type.

part 2

Part II (Allegretto) is included in the Lunar cycle, like a bright interlude between two acts of the drama, in contrast emphasizing their tragedy. It is sustained in lively, serene tones, reminiscent of a graceful minuet with a perky dance melody. Typical for the minuet is also a complex 3x-private form with a trio and a da capo reprise. In figurative terms, Allegretto is monolithic: the trio does not bring contrast. Throughout the Allegretto, Des-dur is preserved, enharmonically equal to Cis-dur, the same name in the key of Adagio.

The final

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

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

The sonata form of the finale of "Lunar" is interesting due to the unusual correlation of the main themes: from the very beginning, the secondary theme plays the leading role, while the main one is perceived as an improvisational introduction of a toccata character. It is an image of turmoil and protest given in a torrent of billowing waves of arpeggios, each abruptly ending with two accented chords. This type of movement comes from prelude improvisational forms. The enrichment of sonata dramaturgy with improvisation is also observed in the future - in the free cadences of the reprise and especially the coda.

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

The predominant role of the secondary is also emphasized in the development, which is almost exclusively based on one topic. It has 3 sections:

• introductory: this is a short, just b-bar introduction of the main theme.
• central: the development of a secondary theme that takes place in different keys and registers, mainly in low.
• a big prejudice.

The role of the climax of the entire sonata is played by code, which is larger than development. In the code, similarly to the beginning of development, the image of the main part fleetingly appears, the development of which leads to a double "explosion" on a reduced seventh chord. And again, a side theme follows. Such a stubborn return to one topic is perceived as an obsession with one idea, as an inability to move away from overwhelming feelings.

L. Beethoven. Sonata No. 14. Finale. Holistic Analysis

Piano Sonata No. 14 (op. 27 No. 2) was written by L.V. Beethoven in 1801 (published 1802). She received the name "Lunar" many years after the death of Beethoven and under this name became famous; it could also be called the “sonata of the alley”, since, according to legend, it was written in the garden, in a semi-burgher-semi-village environment that the young composer liked so much ”(E. Herriot. Life of L.V. Beethoven). Against the epithet "lunar" given by Ludwig Relshtab, A. Rubinshtein vigorously protested. He wrote that moonlight requires something dreamy and melancholic, gently luminous in musical expression. But the first part of the sonatacis- malltragic from the first to the last note, the last - stormy, passionate, it expresses something opposite to light. Only the second part can be interpreted as moonlight.

L.V. Beethoven dedicated the fourteenth piano sonata to the Countess to his beloved Juliet Gricciardi. But the feelings of the composer were unrequited. Mental anguish, despair, pain - all this found expression in the emotional content of the sonata. “There is more suffering and anger in the sonata than love; the music of the sonata is gloomy and fiery,” says R. Rolland. .

Sonata op 27 No. 2 has been enjoying well-deserved popularity for more than two centuries. She was admired by F. Chopin and F. Liszt, who included the C-sharp minor sonata in the program of his concerts, V. Stasov and A. Serov. B. Asafiev enthusiastically wrote about the music of the sonatacis- mall: “The emotional tone of this sonata is filled with power and romantic pathos. The music, nervous and excited, now flares up with a bright flame, then collapses in agonizing despair. Melody sings, crying. The deep cordiality inherent in the described sonata makes it one of the most beloved and most accessible. It is difficult not to succumb to the influence of such sincere music - the expressor of direct feelings ”(Quoted from the collection. L. Beethoven. L., 1927, p. 57).

The sonata cycle of the fourteenth piano sonata consists of three movements. Each of them reveals one feeling in the richness of its gradations. The meditative state of the first movement is replaced by a poetic, noble minuet. The finale is a “stormy gurgling of emotions”, a tragic impulse ...

The first part and finale were written incis- mall, and the average inDes- dur(enharmonic equivalent of the same name). The intonational connections between the parts contribute to the unity of the cycle. Multiple repetition of one sound is the main thematic elementAdagiosostenuto– is also present in the second side part of the third part, the first and third parts also have in common the ostinato rhythm. The intonations at the end of the first sentence of the initial period of the first part in a modified form will constitute the first phrase of the first part of a simple two-part formallegretto(shape of allallegretto- complex tripartite). The dotted rhythm in the extreme parts serves different purposes: in the first, it introduces speech features that always turn into cantilena, while in the third it enhances pathetic features, in both cases - declamation.

Let us dwell in more detail on the third movement of the sonata. The finale is in the form of a sonataallegro. Walking at the pacePrestoagitatohe shakes with his unstoppable energy, drama. The main party in the exposition occupies one sentence of the period (vols. 1-14). Against the background of a jerky pulsation in eighth durations, impetuous ascending arpeggios sound on a hiddenp , completing phrases coming to two chords onSf . Authentic turns are in harmony. There is a deviation in the tonality of the subdominant. There is an addition to the middle (half authentic) cadence, in which a contrasting element enters for the first time - intonationlamento on the dominant organ point. It sounds lyrical and pitiful, doubled in a sixth (in the upper voice there is a hidden two-voice).

The linking part (vols. 15-20) begins as the second (truncated) sentence of the rebuilding period. Modulates to the key of the dominant. It gives harmonyIV 1 3 56 , which equates toVII7 mind . Thus, an enharmonic modulation into the key of the dominant is performed. In the connecting part, the functions of repulsion from the thematic material of the main part and modulation into the key of the side part are spliced.

In the first side game (gis- mall, 21-42 (43) vols.) there is a derivative from the first element of the main part: movement along the sounds of chords, but with larger durations. Accompanied by "albertian basses", which in this context acquire a tragic connotation, that is, a pulsation in sixteenth durations now passes into accompaniment. Tonal-harmonic movement passes throughcis(although the return of the main key is generally atypical for side parts),H, A. The theme of the side of the party is strong-willed, resolute. This is facilitated by the dotted rhythm and syncopation. In cadence, a bright harmony arisesII(Neapolitan), it falls on the climax-shift (according to L. Mazel). Seething sixteenths accompany the chords

The second side part (43-57 vols., Y. Kremlev considers it the first section of the final part, such an interpretation is also possible) in the chordal texture. The intonations are derived from the thematic material of the main part, its second thematic element: stepwise movement (second steps) of repeating one sound.

The final part (58-64) establishes a secondary tonality (the tonality of the dominant). It has the type of accompaniment and intonation of the first side part. The material is given at the tonic organ point (tonic fifth, meaning the “new” tonic -gis).

The exposition of the sonata form is not closed, it goes directly into development. There is symmetry in the tonal plan of the development:CisfisGfiscis. The first section of the development (vols. 66-71) is based on the material of the main batch. It starts in the same key, modulates into a subdominant key.

In the central part (volumes 72-87), the thematic elements of the first secondary part develop in a subdominant key, they are transferred to a lower register, and the accompaniment to a higher one. This is followed by a predicate (88-103 vols.) before the reprise. It is given on the dominant organ point to the main key. Against the background of trembling bass, melodious descending phrases sound on the speakerp . At the end of the predicate, cadence ondecrescendopreparing the introductioncis- mall.

In the reprise, the main part (104-117 bars) and the first side part (118-139 bars) pass without changes (taking into account the transposition of the first side part into the main key). The connecting part was omitted, as there was no need to modulate to a different key. In the second sentence of the second side part (volumes 139-153), the type of movement in the voices is changed (in the exposition, there were ascending phrases in the upper voice, and descending phrases in the lower one, vice versa in the reprise, descending phrases in the upper voice, ascending phrases in the lower voice, which gives the music more roundness).

In the final part (153-160), apart from the tonal transposition, there are no other changes. It turns into a coda (“Beethoven type”, coda - second development, vols. 160-202). It contains the intonations of the first thematic element of the main part (volumes 161-169), then - the material of the first secondary part in the main key, with a rearrangement of voices (volumes 169-179). Then - a virtuoso cadence, including "fantasy arpeggios and chromatic movement (179-192 vols.). The coda ends with an almost exact execution of the final part, turning into a descending arpeggio in an octave presentation and two staccato chords onFF .

The finale of the piano sonata in C-sharp minor is an example of the final part of the cycle in sonata form, marked by features of originality: the exposition is open, goes directly into development, a very significant code is introduced by L.V. Beethoven as a second development. This contributes to the ultimate concentration of musical material.

Yu. Kremlev writes that the figurative meaning of the finale of the “Moonlight” sonata is in the grandiose battle of emotion and will, in the great anger of the soul, which fails to master its passions. Not a trace remains of the rapturously disturbing daydreaming of the first part and the deceptive illusions of the second. But passion and suffering dug into the soul with a force never known before.

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

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

Introduction

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

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

The phenomenon of the popularity of this work

I did not just name the work "visiting card" composer, because for most people, especially for those who are far from classical music, it is with the “Moonlight Sonata” that the name of one of the most influential composers of all time is primarily associated.

The popularity of this piano sonata has reached incredible heights! Even right now, typing this text, I just asked myself for a second: “And what works of Beethoven could outshine Lunar in terms of popularity?” And you know what's the funniest thing? I can not now, in real time, remember at least one such work!

See for yourself - in April 2018, in the search line of the Yandex network alone, the phrase "Beethoven Moonlight Sonata" was mentioned in a variety of declensions more than 35 thousand once. In order for you to roughly understand how big this number is, below I will present the monthly statistics of requests, but for other famous works of the composer (I compared the requests in the format “Beethoven + Title of the work”):

• Sonata No. 17— 2,392 requests
• pathetic sonata- almost 6000 requests
• Appassionata- 1500 requests...
• Symphony No. 5- about 25,000 requests
• Symphony No. 9- less than 7000 requests
• Heroic symphony- a little over 3,000 requests per month

As you can see, the popularity of "Lunar" significantly exceeds the popularity of other equally outstanding works of Beethoven. Only the famous "Fifth Symphony" came closest to the mark of 35,000 requests per month. At the same time, it should be noted that the popularity of the sonata was already at its height. during the composer's lifetime, about which Beethoven himself even complained to his student, Carl Czerny.

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

I wonder what data we will get if we compare the above-mentioned frequency of requests with the most famous works others great composers? Let's check, since we've already started:

• Symphony No. 40 (Mozart)- 30 688 requests,
• Requiem (Mozart)- 30 253 requests,
• Hallelujah (Handel)- a little over 1000 requests,
• Concerto No. 2 (Rachmaninov)- 11 991 requests,
• Concert No. 1 (Tchaikovsky) - 6 930,
• Nocturnes by Chopin(the sum of all combined) - 13,383 requests...

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

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

Today I will try as concisely as possible (if possible) to tell what I know about the history of the creation of this work, I will try to dispel some myths related to the origin of its name, and I will also share recommendations for beginner pianists who want to play this sonata.

History of the Moonlight Sonata. Juliet Guicciardi

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

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

Further, in the same letter, Beethoven talks about "to a sweet and charming girl whom he loves and who loves him" . But then Beethoven makes it clear that this girl is higher than him in social status, which means that he needs "to be active" to be able to marry her.

under the word "act" First of all, I understand Beethoven's desire to overcome developing deafness as quickly as possible and, consequently, to significantly improve his financial situation through more intensive creativity and touring. Thus, it seems to me, the composer was trying to achieve marriage with a girl from an aristocratic family.

After all, even despite the lack of a young composer of any title, fame and money could equalize his chances of marriage with a young countess in comparison with some potential competitor from a noble family (at least that’s how, in my opinion, young composer).

Who is the Moonlight Sonata dedicated to?

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

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

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

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

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

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

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

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

By the end of 1801, other events relate - most likely, it was at this time that Juliet takes Beethoven's first piano lessons, for which, as you know, the teacher did not take money. Any attempt to pay for music lessons Beethoven took as a personal insult. It is known that once Juliet's mother, Susanna Guicciardi, sent shirts to Ludwig as a gift. Beethoven, perceiving this gift as payment for his daughter's education (perhaps this was the case), wrote a rather emotional letter to his "potential mother-in-law" (January 23, 1802), in which he expressed his indignation and resentment, made it clear that he was engaged with Juliet not at all for the sake of material incentives, and also asked the countess not to commit such acts again, otherwise he "won't show up in their house again" .

As noted by a variety of biographers, Beethoven's new student wouldstrongly attracts him with her beauty, charm and talent (let me remind you that beautiful and talented pianists were one of Beethoven's most pronounced weaknesses). At the same time, withit is read that this sympathy was mutual, and later turned into a fairly strong romance. It is worth noting that Juliet was much younger than Beethoven - at the time of sending the above letter to Wegeler (remember, it was November 16, 1801), she was only seventeen years old without a week. However, apparently, the age difference (Beethoven was then 30) didn’t really bother the girl.

Did Juliet and Ludwig's relationship go as far as a marriage proposal? - Most biographers believe that this really happened, referring mainly to the famous Beethoven scholar - Alexander Wheelock Thayer. I quote the latter (the translation is not exact, but approximate):

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

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

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

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

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

If back in the summer of 1801 young people were having a great time in Krompachy * , and in the fall Beethoven sends the same letter where he tells an old friend about his feelings and shares his dream of marriage, then already in 1802 the romantic relationship between the composer and the young countess noticeably fades away (and, first of all, from the side of the girl, because the composer is still was in love with her). * Krompachy is a small town in present-day Slovakia, and at that time was part of Hungary. The Brunsvik Hungarian estate was located there, including the pavilion where Beethoven is believed to have worked on the Moonlight Sonata.

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

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

For Beethoven, this was a double whammy, because Gallenberg's composing talent was so mediocre that it was openly written about in the Viennese press. And even studying with such a wonderful teacher as Albrechtsberger (whom, let me remind you, Beethoven himself studied earlier), did not contribute to the development of musical thought in Gallenberg.niya, as evidenced by the obvious theft (plagiarism) by the young count of musical techniques from more famous composers.

As a result, around this time the publishing house Giovanni Cappi finally publishes the sonata "Opus 27, No. 2" with a dedication to Giulietta Guicciardi.

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

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

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

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

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

Why the sonata was called "Lunar"

With the popularization and final consolidation in German society, the names "Moonlight Sonata" people came up with various myths and romantic stories about the origin of both this name and the work itself.

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

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

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

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

After all, this seemingly harmless fictional story, popular in the 19th century, never bothered me until I started noticing it on various Internet resources, posted as an illustration supposedly true history origin of the Moonlight Sonata. I also heard rumors that this story is used in the “collection of expositions” in the Russian language school curriculum - which means that, given that such a beautiful legend can easily be imprinted in children's minds, which can take this myth for truth, we simply have to contribute some credibility and note that this story is fictional.

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

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

How did Beethoven feel about the title?

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

I explain what I'm talking about: several times, while studying Western forums, I came across discussions where one user asked a question like the following: "How did the composer feel about the name "Moonlight Sonata". At the same time, other participants who answered this question, as a rule were divided into two camps.

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

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

Who came up with the name?

The “nuance” mentioned above is the fact that in fact the first connection between the movement of the “first movement” of the sonata and moonlight was nevertheless made during Beethoven’s lifetime, namely in 1823, and not in 1832, as is usually said.

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

Under the "lake" on the screen above, we mean the lake Lucerne(it’s also “Fierwaldstet”, located in Switzerland), but I borrowed the quote itself from Larisa Kirillina (first volume, page 231), which, in turn, refers to Grundman (pages 53-54).

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

Most rapidly, this connection between “adagio” and moonlight began to be fixed in society already in 1852, when the famous music critic suddenly remembered the words of Relshtab Wilhelm von Lenz(who referred to the same associations with “lunar landscapes on the lake”, but, apparently, erroneously named not 1823, but 1832 as a date), after which a new wave of propaganda of Relshtab associations began in the musical society and, as a result, the gradual formation of the now known name.

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

Brief description of "Moonlight Sonata"

And now, knowing the history of the creation of the work and the emergence of its name, you can finally get acquainted with it briefly. I immediately warn you: we will not conduct a volumetric musical analysis, because I still cannot do it better than professional musicologists, whose detailed analyzes of this work you can find on the Internet (Goldenweiser, Kremlev, Kirillina, Bobrovsky and others).

I will only give you the opportunity to listen to this sonata performed by professional pianists, and along the way I will also give my brief comments and advice for beginner pianists who want to play this sonata. I note that I am not a professional pianist, but I think that I can give a couple of useful tips for beginners.

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

Both of these sonatas are united by a freer form compared to most other classical sonatas, which is openly indicated to us by the composer's author's note "Sonata in the manner of fantasy" on the title pages of both sonatas.

Sonata No. 14 consists of three parts:

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

Oddly enough, but, in my opinion, Sonata No. 13 deviates much more from the classical sonata form than "Moonlight". Moreover, even the twelfth sonata (opus 26), where the first movement uses a theme and variations, I consider much more revolutionary in terms of form, although this work was not awarded the mark "in the manner of fantasy."

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

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

• Part 1 - Quick "Allegro";
• Part 2 - Slow motion;
• Movement 3 - Minuet or Scherzo;
• Part 4 - The ending is usually fast."

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

• Part 1 - Slow motion;
• Part 2 - Minuet or Scherzo;
• Part 3 - The final is usually fast.

Doesn't it remind you of anything? As you can see, the form of the Moonlight Sonata is not really that revolutionary, and is essentially very similar to the form of Beethoven's very first sonatas.

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

Play recordings

Now, finally, I propose to get acquainted with the work closer. To begin with, I recommend listening to "audio recordings" of the performance of Sonata No. 14 by professional pianists.

Part 1(performed by Evgeny Kissin):

Part 2(performed by Wilhelm Kempf):

Part 3(performed by Yenyeo Yando):

Important!

On next page we will review each part of the Moonlight Sonata, where I will give my comments along the way.