Analysis of the structure, dramaturgy, musical images of Beethoven's Fourth Sonata. Analysis of the finale of the First Sonata L

What is the difference between the words: confession and monologue?

A monologue can be on any topic, confession is very personal, it is the state of mind of an individual.

Today we will listen to the music of L. Beethoven, about which the French writer R. Roldan said: "This is a monologue without words, a true, amazing confession, similar to which can be found in music ... there is not a single word here, but this music is understandable to everyone" .

Sounds like I Part Analysis.

Melody - basses - triplets.

Man - Man's grief - the world around.

How are these three components developed?

Tenderness, sadness, meditation. Measured, rocking movement of the middle voice. Then comes the pleading melody, a slight upward movement. “Is it with me? - the man thinks. She passionately, persistently tries to reach the bright registers, but gradually the melody goes to the bass. Man dissolved in grief, went into it completely, and nature remained unchanged. Merged with misfortune. The last chords are like a heavy plate covering a person.

Sounds P part

What image does this melody evoke?

This is an island of small happiness. B. Aget called her "a flower between two abysses."

What is this lyrical part?

Some consider Juliet Guichardi to be a musical portrait, while others refrain from figurative explanations of the enigmatic part. Intonations can be interpreted from unpretentious grace to noticeable humor. The person probably performed something long past, beloved, a corner of nature, a holiday, G. Neuhaus said that it was "A flower with drooping leaves."

Sounds part III

What associations have emerged?

Sounds like a storm sweeping away everything in its path. Four waves of sounds rolling with great pressure. Each wave ends with two sharp blows - the elements are raging. But here comes the second theme. Her upper voice is wide, melodious: complains, protests. The state of extreme excitement is preserved thanks to the accompaniment - in the same movement as during the stormy beginning of the 3rd movement. Sometimes it seems that complete exhaustion sets in, but the person rises again to overcome suffering.

This is the main part of the sonata and the natural conclusion of its dramatic events. Everything here is like in the lives of many people, for whom to live means to fight, to overcome suffering.

"Pathetic Sonata" No. 8

The sonata was written by L. Beethoven in 1798. The title belongs to the composer himself. From the Greek word "pathos" - with an elevated, elevated mood. This name refers to all three parts of the sonata, although this "elevation" is expressed in each part in different ways.

I Part written in a fast tempo in sonata allegro form. Unusually the beginning of the sonata "The slow introduction sounds gloomy and at the same time solemn. Heavy chords, from the lower register the sound avalanche gradually moves upwards. Formidable questions sound more and more insistent. They are answered by a gentle, melodious melody with a touch of prayer against the background of calm chords.

After the introduction, a swift sonata allegro begins.

Main party reminiscent of surging waves. Against the background of a restless bass, the melody of the upper voice anxiously runs up and down.

Linking party gradually calms the excitement of the main theme, and leads to a melodic and melodious side party.

Contrary to the established rules in the sonatas of the Viennese classics, the side part of the "Pathétique Sonata" sounds not in the parallel major, but in the minor of the same name.

Control questions and tasks for students

1. In what year was L, Beethoven born?

A). 1670,

B). 1870

IN). 1770.

2. Where was Beethoven born?

A). in Bonn,

B). In Paris,

IN). In Bergen.

3. Who was Beethoven's teacher?

A). Gendel G.F.

B). Nefe K. G.

IN). Mozart W.

4. At what age did Beethoven write the Moonlight Sonata?

A). At 50.

B). At 41.

IN). At 21.

5 . Just right for what woman did Beethoven write Moonlight Sonata?

A). Juliet Guichardi.

B) Juliet Capulet. IN). Josephine Dame.

6. Which poet gave the name to the sonata No. 14 "Lunar"?

A) and Schiller.

B). L. Relshtab.

IN). I. Shenk.

7. Which work does not belong to the work of Beethoven?

A). "Pathetic Sonata".

B). "Heroic Symphony".

IN),."Revolutionary Etude".

8. How many symphonies did Beethoven write?

Exercise 1.

Listen to two works, determine by style which of them is L. Beethoven, explain your opinion.

Sounds: “Prelude No. 7” by F. Chopin and “Sonata” No. 14, 3rd part of L. Beethoven.

Symphony

Symphony (from the Greek συμφωνία - “consonance”) - a genre of symphonic instrumental music of a many-part form of fundamental worldview content.

Due to the similarity in structure with sonata, sonata and symphony are united under the general title " sonata-symphonic cycle ". In a classical symphony (in the form in which it is presented in the works of the Viennese classics - Haydn, Mozart and Beethoven) there are usually four parts.

the 1st part, at a fast pace, is written in sonata form;

2nd, in slow motion, is written in the form of variations, rondo, rondo sonata, complex three-part

3rd - scherzo or minuet - in three-part form

4th movement, at a fast pace - in sonata form, in the form of a rondo or a rondo sonata.

A program symphony is one that is associated with a known content set forth in the program and expressed, for example, in the title or epigraph - Beethoven's Pastoral Symphony, Berlioz's Fantastic Symphony, Tchaikovsky's symphony No. 1 "Winter Dreams", etc.

Tasks for students

Listening and analysis of fragments from symphonies by program Kritskaya E. D. "Music".

In Mozart Symphony No. 40, exposition.

1. Sing the main melody of solfeggio, vocalization, to a text invented by yourself.

2. Listen and draw the melodic line of the main theme.

3. In the process of listening, draw an artistic image that has arisen.

4. Compose a rhythmic score for DMI.

5. Learn the proposed rhythmic movements and compose rhythmic improvisations.

A. P. Borodin Symphony No. 2 "Bogatyrskaya"

1. The main theme: sing, play the metallophones, the piano.

2. Compare the musical image with the artistic one - A. Vasnetsov "Heroes".

P. Tchaikovsky symphony No. 4 final

1. Sing the main theme with pauses to the words of the song "There was a birch in the field."

2. Perform rhythmic accompaniment on noise musical instruments.

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

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

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

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

Main part (8+16 volumes) C-Dur

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

Small development section (14 vol.)

Main part (8+15 volumes) C-Dur

Side lot (5t) C-Dur

Final section (8v) C-Dur

Koda (4 volumes) C-Dur

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

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

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

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

Subject side party is an example of a "derived contrast" from the main theme - its image is more melodious, individualized than the image of the main party. It is more "mosaic", divided into constructions of 4 measures, simultaneously combines the function of development, which is also facilitated by the instability of tonal development - the change of As-f-Des.

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

The melody is more aspiring, directed upwards (unlike the main part, where the movement is directed downwards). Also, the effect of aspiration upwards is facilitated by the repetition of the theme of the side part from higher sounds: Es - C - As

Function development in the form of a movement, a small section plays (14 measures), consisting of a dialogue (5 m.), a false reprise in B-Dur in the upper register (3 m.), a stretta on a descending fourth motif of the main part (2 m.), and a link to reprise (4 volumes).

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

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

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

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

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

They consist of several "components":

1.Incremental upward movement per second

2. Rhythm: quarter (strong beat) - eighth

3.Quart downward jump to a strong beat

4. Dotted rhythm on a strong beat

5.Chord choral texture

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

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

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

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

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

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 following 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), etude-piaiistic 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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DEPARTMENT OF CULTURE OF THE SAKHALIN REGION

GOU SPU SAKHALIN SCHOOL OF ARTS

COURSE WORK

On the subject "Analysis

musical works"

topic: "Analysis of the final of the First

sonatas by L. Beethoven»

Completed by a 5th year student

specialty "Music Theory"

Maksimova Natalya

Head Mamcheva N.A.

Reviewer

Yuzhno-Sakhalinsk

WORK PLAN

I INTRODUCTION

1. Relevance of the work

2. Goals and objectives of the work

II MAIN PART

1. A brief theoretical digression into the topic

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

III CONCLUSION

IV APPENDIX-DIAGRAM

V

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

The sonata form attracted the composer with many qualities inherent only to it: the display (exposition) of musical images different in character and content presented unlimited possibilities, “opposing them, pushing them in a sharp struggle and, following the internal dynamics, reveal the process of interaction, interpenetration and transition in the end into a new quality" 3

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

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

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

This work is relevant, because. the analysis of the finale as the final part of the sonata is important for understanding the composer's musical thinking. A. Alschwang believes that the artistic techniques and principles of thematic development give grounds to consider the finale of the First Sonata “the initial link in a whole chain of stormy finales, up to the finale of the Appassionata”.

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

IIMAIN PART.

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

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

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

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

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

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

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

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

EXPOSITION

DEVELOPMENT

GP SP PP GP

GP SP PP GP

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

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

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

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

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

Sonata form contains several typical features:

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

2) A side part is more often an image of a different character. Usually tonally more stable than the main one, more complete in its development and usually larger in scale.

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

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

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

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

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

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

No. 2, was written by Beethoven in 1796 and dedicated to Joseph Haydn.
The total playing time is about 22 minutes.

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

The sonata has four movements:

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

(Wilhelm Kempf)

(Claudio Arrau)

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

Spiritual contradictions are obvious. Should we submit to the demands of the public, of the world, find a way to meet them as accurately as possible, or go our own, difficult, difficult, but heroic path? Of course, a third moment also comes in - the lively, mobile emotionality of youth, the ability to easily, responsively surrender to everything that beckons with its brilliance and radiance.

Researchers have more than once been inclined to note the “concessions”, the outward virtuosity of this and subsequent Beethoven piano sonatas.

Indeed, there are concessions, they are felt already from the first bars, the light humor of which is a match for Joseph Haydn. There are many virtuoso figures in the sonata, some of them (for example, jumps, small scale technique, quick enumeration of broken octaves) look both to the past and to the future (reminiscent of Scarlatti, Clementi, but also Hummel, Weber)

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

I. Allegro vivace

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is third in F major, which contains a relationship with the key of the work, A major. A difficult, but beautiful canonical section is also to be found in the development. The reprise does not contain codes and the part ends quietly and modestly.

II. Largo appassionato

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

III. Scherzo: Allegretto

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

IV. Rondo: Grazioso

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

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

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

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

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

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

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