Sonata form in Beethoven's piano sonata cycles (Gershkovich). Analysis of the structure, dramaturgy, musical images of Beethoven's Fourth Sonata
Various interpretations of the sonata form in the works of the Viennese classics: a single-theme (with an orientation towards the Baroque prototype) sonata form in Haydn, a multi-theme sonata form in Mozart, dramaturgically structured, with end-to-end development, in Beethoven.
1. Sonata form of the Viennese classics. Structure of sections. Introduction(not necessary). Main types 1) preparation of a sonata Allegro through shading, often modal contrast (symphonies by J. Haydn);
2) anticipation of the thematic theme of the sonata Allegro (L. Beethoven. Sonata No. 8);
3) in romantic music - an independent theme participating in development (symphonies of P. Tchaikovsky. Unfinished symphony of F. Schubert).
Exposition. The main part is the main idea of the composition, the impulse for further development. Contrasting (Sonata No. 14, part 1 K.457; L. Beethoven. Sonata No. 5, part 1) and “homogeneous main theme (L. Beethoven. Sonata No. 1). Anticipation by intrathematic contrast in the main theme of contrast within the exposition and cycle. Tonality - basic (deviations are possible, but not modulation). Possible unstable ending (L. Beethoven. Sonata No. 1, part 1). Form - often period (Sonata No. 7, part 1, K. 309) or a large sentence (L. Beethoven. Sonata No. 1, part 1). In the finale, a simple form is possible (Symphony in g minor No. 40, K. 550).
Linking party. The main function is the transition from the main topic to a side topic, its preparation. In tonal-harmonic terms - movement (modulation from the main tonality to the secondary one, deviations and sequences are possible); in structural terms there are three stages: addition to an equal theme, transition, precursor to the tonality of a secondary theme; in thematic - development of elements of the main theme, preparation of a secondary theme, general forms of movement, sometimes an independent theme (the so-called “intermediate” - Sonatas No. 12, K. 332; No. 14, K. 457; No. 16, K. 570, first parts ). Some stages of the connecting theme may be absent, as sometimes the connecting theme as a whole (in some sonatas by Haydn and Mozart, where the dominant to the main key, which tempers the main theme, is equated to the tonic of the secondary key - “metric modulation”; the same - with a short connecting , which is an addition ending on the dominant: see, for example, Mozart’s sonatas No. 1, K. 279; No. 15, K. 545, first movements).
The side part is the main figurative, thematic and tonal contrast. Structurally, it is a “loose” type of construction compared to the “solid” type of the main theme (“fest” and “locker” - hard and loose, A. Schoenberg’s terms). The thematic relationship between the main and secondary themes is the principle of derivative contrast. In early examples, a secondary theme based on the main one is the baroque type of monotony (J. Haydn. Symphony in Es major “with tremolo timpani”, No. 000; Sonata No. 16, K. 570). Sometimes two (or more) themes in a side part, performing different functions (Sonata No. 18, K.533/491, chL). The tonal relationship of the secondary and the main: dominant direction, in major - the tonality of the fifth degree, in minor - a parallel tonality or, less often, the tonality of a minor dominant (L. Beethoven. Sonata for violin and piano No. 9, “Kreutzer”; sonata No. 17 , first parts). In Beethoven, variants of the same name appear for typical related tonalities (sonatas No. 8- c-es; No. 21- C-E, first movements); in later works - tertian relationships, anticipating the romantics (symphony No. 9: d-B; sonata No. 29: B-G, first movements). The form in the side batch is a period, usually with a large expansion. A turning point (shift) in the side part (L. Beethoven. Sonatas No. 5, part 1; No. 23, part 1).
Final game. Harmonically and structurally, it is a series of additions and cadences. Thematically: on the material of the main theme (Symphony No. 40, g-moll, K.550, part II, on the material of the secondary theme (F. Schubert. Unfinished Symphony, Part II), new theme (Sonata No. 14, K. 457 , part 1); also in the case of constructing the main and secondary topics on the same topic). Several (two or three) final themes are possible with increasing signs of finality.
Development - part specifically dedicated to development. In thematic terms - the use of various themes of the exhibition, their transformation, fragmentation, polyphonic combination, and polyphonic techniques in general. An episodic theme (Sonata No. 12, K. 332, part 1) or a more detailed episode in development (L. Beethoven. Symphony No. 3, part 1). In many samples, the sequence of sections is similar to the exposition (the so-called “developed exposition”, the prototype is the baroque sonata form, for example: L. Beethoven. Sonata No. 1, 4.1; P. Tchaikovsky. Sixth Symphony, part 1). In tonal terms - avoidance of exposition tonalities (movement towards the subdominant or distant tonalities), predominance of tonal-harmonic instability, sequencing (in later samples - sequencing of large sections - so-called “parallel movements”). In close-up there are three sections: introductory (starting from the end or beginning of the exhibition), the actual development (the most extensive), and the prelude to the reprise. In mature samples, there may be several sections with their own culminations (“waves” in the developments of symphonies and some sonatas of Beethoven).
Reprise. The main part - its dynamization is possible, sometimes - the coincidence of the culmination of development and the beginning of the reprise - a feature leading to romanticism (L. Beethoven. Symphonies No. 5, 9, first movements). It is possible to rework the main theme, its openness (Sonata No. 7, K.309. Part 1).
The connecting part is typical changes in accordance with the change in tonal plan in the reprise.
The side part - just as further in the final theme - is a transposition into the main key (or, in later examples, a convergence with the main key). In minor cycles - with a major side theme in the exposition, in reprise - a change of mode from major to minor (Symphony g-moll, No. 40, K. 550; Sonata No. 14, K. 457) or maintaining the major mode with a further change of it in the final part (L. Beethoven. Symphony No. 5, part 1). Resolution of the main conflict and approval of the main tone and main idea (subordination of the secondary theme to the main one). Typical for Beethoven code(in Mozart - less often, for example: Sonata No. 14, K.457). Expanded codes in Beethoven’s symphonies and some sonatas, possibly reflecting the main stages of development (“second development”). Code sections: unstable section and actual code.
ABOUT special forms of reprises:
a) the omission of the main theme is a reflection of the principles of the Baroque sonata form (Haydn’s single-theme sonata forms). Rarely encountered subdominant reprises are associated with the same - baroque - roots (conducting the main theme in a subdominant key: Sonata No. 15, K. 545, part 1);
b) skipping a side theme (rarely - Overture to the opera “Idomeneo”);
c) mirror reprise (Sonata No. 9, K.311, part 1).
2. Sonata form in the music of the romantics: expansion of the genre sphere of thematism, deepening the contrast between themes and sections of the form, comparison instead of derivative contrast, new tonal relationships of the main and secondary parts, closed forms of themes, isolation of sections of the main and secondary parts, even tempo ones. “Plot content”, “eventfulness” as the basis of dramaturgy, dynamization of reprises, merging development with reprise (F. Chopin, first movements of sonatas in b-moll and h-moll; F. Schubert, piano sonatas in B-dur, part 1, “ Arpeggion", 4.1; R. Schumann. Sonata for piano fis-moll, part 1, piano quintet, part 1; P. Tchaikovsky. Grand Sonata for piano, part 1.
Piano Sonatas No. 9, 15, 16, 23, first movements. Sonata for piano fis-moll, part 1. Sonata for cello and piano, part 1. Piano quintet, finale.
Required reading:
ABOUT variability of functions of musical form. - M., 1970. KyureghyanT. Form in music of the 17th-20th centuries. - M., 1998.-4.1, chapter 5. Beethoven's late sonatas // Questions of musical form. - M., 1966.-Issue. 1.
The structure of musical works. - M., 1986.-Chapter 11. Forms of musical works. - M., 1999. - Chapter 9, topic 5; Chapter 10, topic 2.
Topic 20. Special varieties and modifications of sonata form
1. Sonata form without development(in old terminology - sonatina). Scope of application: opera overtures and slow movements of sonata-symphonic cyclops. Lack of noticeable contrasts and intensive development. The lack of development is sometimes compensated for by a varied presentation of themes in the reprise. Between exposition and reprise a connection (move), sometimes of a developmental nature, is possible. The final game is short or may be absent altogether. Often a coda, sometimes with a repetition of the main theme (ronda-shaped rhythm, a tendency towards a double three-part form: Sonata No. 98, K.311, R.2). Closeness to the second rondo form (by) or Adagio form.
2.Sonata form with an episode instead of a development. Scope of application: finales of sonata-symphonic cycles, sometimes slow movements. Similarity with a trio of a complex three-part form or the central episode of a rondo sonata (L. Beethoven. Sonata No. 1, finale) or an episode of a complex three-part form (L. Beethoven. Sonata No. 7, part 2). The code may reflect the episode. The difference between an episode in lieu of development and an episode in development.
3.Sonata form with double exposure. Area of application: mainly the first parts of classical instrumental concertos. Difference from the old concert form of the Baroque era. The origin is the introduction to the concerto and the traditional repetition of the exposition in the sonata Allegro. The dependence of the form on the genre of the concert: competition between soloist and orchestra, alternation of tutti and solo. The difference between the two expositions: texture (orchestra, tutti - soloist - orchestra); tonal-harmonic (end of 1st exposition in the main key, I - in a secondary key of the dominant or parallel); thematic (sometimes regrouping of themes in the second exposition, the possibility of new themes appearing - Concerto for piano and orchestra No. 20, d-moll, part 1, K. 466; Concerto for clarinet and orchestra, K. 622, part 1). The organization of the entire form of the first part of the concert is based on the principle of contrast between tutti and solo (the second tutti,
orchestral acting on the verge of exposition and development; solo cadence before coda; tutti in the code, echoing the second tutti).
Piano Sonata No. 17, slow movement. Overture to the drama "Rosamund".
The first movements of concerts by F. Mendelssohn, J. Brahms, E. Grieg, P. Tchaikovsky.
Required reading:
Forms of musical works. - St. Petersburg, 1999. - Ch. 9, topic 4.
Additional literature:
Special exhibitions in sonata form from the 19th century. - St. Petersburg, 1999.
Theme 21. Rondo Sonata
Rondo sonata as a synthesis of formative elements of different nature
principles: rondo, based on folk song and dance genres, and sonatas as a form of professional musical art. Sufficient typicality and regulation of the form, which does not allow it to be classified as mixed forms.
The general character of the classical rondo sonata is often light, moving at a brisk tempo, mainly relying on the genre characteristics of a rondo: dance-round dance, scherzo thematic, “circular” intonations, often virtuosity. Completeness of themes and sections, a single metro-rhythmic pulsation, often in a major mode.
Dual structure of form: rondo sonata as a fundamental transformation sonata form(violation of the tonal plan of the sonata exposition due to the appearance at the end of its main part in the main key). Rondo sonata as a special variety rondo(violation of the principle of thematic renewal in each episode due to the thematic identity of the first and last episodes). In general, the rondo sonata is more closely related to the rondo form than the sonata.
Rondo sonata structure: rondo with three (or more) episodes, refrain - the main part according to the type of the central section of the form - two main varieties of rondo sonata: aggravation of features rondo in the case of a thematically independent, structurally designed second episode (L. Beethoven. Sonata No. 2, finale); approaching sonata form in case the second episode is development ( L. Beethoven. Sopata No. 11, final).
Refrain form: often simple two- or three-part (L. Beethoven. Sonata No. 2, finale; Violin Concerto, finale).
Variations of the refrain are possible (Sonata No. 3, B major, K. 281, finale). Sometimes the omission of a refrain in a reprise of a rondo sonata, leading to the emergence of a mirror reprise (Sonata No. 14, c-moU, K.457, finale) or between episodes in the central section of the form (Sonata No. 13 B-dur, K.333, the final). The presence of a link (connecting part) between the refrain And the first episode (side part), where modulation occurs in the key of the dominant. Usually there is no connection between the refrain and the second episode.
Modal renewal in the central episode (parallel keys of the same name: L. Beethoven. Violin Concerto, finale; piano sonata No. 2, finale). Often - coda (L. Beethoven. Sonata No. 2, finale).
Scope of application rondo sonatas - most often in the finales of sonata-symphonic cycles, less often - in other parts.
Style varieties of form: Haydn - one-theme rondo sonata (symphony No. 99, finale); at Mozart - rondo sonata with several episodes (sonata no. 3, K.28I, finale).
Piano Sonata B major K.533/494, finale. A - Piano Sonata F major K.533, finale. BeethovenJI. Concerto for piano and orchestra No. 5, finale. Beethoven L, Piano Sonata No. 4, finale.
Required reading:
Form in music of the 15th-20th centuries. - M., 1998. KholopovaV. Forms of musical works. - St. Petersburg, 1999. - Ch. Z, 7.
Additional literature:
Subject 22. Sonata-symphony cycle
Origin, connection with the Baroque cycles and differences from them. Stabilization in the second half of the 18th century of the sonata-symphonic cycle; a certain number (3-4) and functions of parts (active motor first part, contemplative-lyrical second, genre-dance third and finale that synthesizes all the main trends in the cycle). The number of parts depends on the genre; 4 - in symphonies, quartets, quintets (and other chamber ensembles, except trios), 3 - in concerts in sonatas. Contrast of parts - figurative and thematic (“leap with filling”) and final unity. Preference for certain forms: in the first movement - sonata form (sometimes variations); second part - any varieties of sonata form, complex three-part with an episode, Adagio-form, variations, rondo; the third part is a complex three-part with a trio; fourth movement - sonata form, rondo, rondo sonata, variations. The possibility of the existence of a sonata cycle without a sonata form (Sonata No. 11; L. Beethoven. Sonata No. 12). Tonal relationship of parts (traditionally - all parts, except the slow one, are in the main key: connection with the Baroque sonata cycle). Thematic connections and end-to-end development in the sonata-symphonic cycle - in mature and late samples (Symphony in g minor No. 40, K. 550; L. Beethoven. Symphony No. 5 and 9). Deviation from the traditional structure of the sonata-symphonic cycle: in the order of parts, the exchange of places of the slow movement and scherzo (L. Beethoven. Symphony No. 9; A. Borodin. Symphony No. I), their nature, quantity (Beethoven’s late quartets), tonal plans ( Haydn, late Beethoven) - an anticipation of romanticism.
Required reading:
Form in music of the 17th-20th centuries. - M., 19, chapter 7. Additional literature:
Topic 23.Free forms of the Romantic era
New genres in connection with programmaticity, “literariness”, “eventfulness” (ballads, poems, etc.). Increased contrast, growth in the scale of forms. The principle of monothematism, the dynamic nature of development. Synthesis of cyclicality and one-partness. Expandedness and completeness of exhibition sections; compression, dynamization of the final sections (acceleration of development towards the end, compression of reprises. The principle of “from dismemberment to unity”). Synthetic reprises.
The leading role of sonata, its synthesis with variation, rondality, and cyclicity.
Sonata and cyclicity (merging a cycle into a one-part cyclic composition - F. Schubert. Fantasy “The Wanderer”; F. Liszt. Sonata in h-moll). Symphonic poems by R. Strauss, concerts by Liszt, Rimsky-Korsakov, Glazunov.
Sonata and variation - F. Liszt. “Spanish Rhapsody”, M. Balakirev. "Islamey".
A combination of different principles in one form (sonata, variation, concentricity (F. Liszt. Tarantella “Venice and Naples”). Suite as the basis of a continuous cycle (N. Rimsky-Korsakov. Fantasy for violin and orchestra on themes from the opera “The Golden Cockerel”) Rondified forms (W. Zuckerman; F. Chopin. Ballade in f-moll).
Genre genesis of the form and its impact on the specific result of “mixing” (F. Liszt. Mephisto-waltz, a complex three-part form with a trio, transformed into a sonata form without development).
Mixed forms as a reflection of the increased role of the procedural-dynamic factor in the music of the romantics. Compositional deviation (F. Chopin. Scherzo No. 2). Compositional modulation (F. Chopin. Scherzo No. 3), ellipsis (F. Chopin. Scherzo No. 4. Individualized forms on this basis (F. Chopin. Polonaise-Fantasy As-dur).
Spanish Rhapsody; Hungarian Rhapsody No. 6. Concerto for violin and orchestra. Barcarolle.
Mandatory literature:
Forms in music of the 16th-20th centuries. - M., 1998, chapter 7,
Forms of musical works.-M, 1999. - Chapter 10.
ChapterIVForms in musicXXcentury
Topic 24. General characteristics of forms in musicXXV. Chromatic tone and form. Center technology
1. General characteristics of forms in music of the 20th century. New content - new musical material - new (updated) forms. Spiritual and aesthetic foundations for the renewal of musical language and, as a consequence, musical forms. The coexistence in the formation of different trends and their gradual change: the predominant orientation towards standard tonal forms in the first half of the 20th century (Myaskovsky, Prokofiev, Shostakovich, Khachaturian, Khmndemith, Ravel, Honegger, etc.) and the famous strengthening of individualization of forms (according to which the design is composed for each work anew, as was previously composed, for example, thematicism) in the second half of the 20th century.
Music Warehouse; new varieties: pointillism (which is based on an indefinitely large number of “dot voices” without continuations) and sonorous monody (in which a formally large number of voices form a single layer indistinguishable by hearing); serial polyphony (the specificity of which is associated with the autonomization of pitch and rhythmic parameters, from which follows the possibility of only pitch and only rhythmic imitations, canons, the coexistence of two levels of counterpointing - actually serial and motive-thematic) and polyphony of layers (when the object of polyphonic combinations becomes a “line” , thickened by many voices); aleatory sterophony (arising as a result of a mobile combination of several voice options); the concept of a combination of several voice options); the concept of a diagonal warehouse (as a result of a new relationship between vertical and horizontal, their gradual interflow).
Pitch; multiple systems: chromatic tonality (with its inherent fundamental possibility of twelve steps, unlimited expansion of chords, and often increased dissonance); center technique (as the next logical stage in the evolution of tonality, at which the functional relations of tonal harmony are “modeled” exclusively by dissonant components, and the entire system is built individually, according to the structure of its “central element” (Yu. Kholopov); neomodality (with its traditional reliance on stability scale, but with an endless increase in the number of scales used); seriality and its main, dodecaphonic variety (as a result of the gradual degeneration of late tonality and a new modality); sonorics (in which the coloristic tendencies of harmony of the 20th century reach their limit, resulting in the dissolution of pitch into a single colorful sonority). Unregulated musical material as a consequence of the multiplicity of pitch systems. Creation of individual functional relationships based on unregulated material. Functional method of analysis.
Metrorhythm. Coexistence and interaction of different types of rhythm; rhythm is accented and unaccented, regular and irregular (according to V. Kholopova) in any combination of them. Strengthening the role of metro rhythm in shape formation. The tendency towards an autonomous role of metrhythm in form, up to the creation of special, primarily rhythmic forms.
Thematicism. Rethinking thematicism (as the focus of the individual principle) following the expansion of the individual sphere to almost all parameters of music (including rhythm, texture, timbre); the emergence as a result (in addition to the traditional melodic) of textural, timbre, and rhythmic thematics.
The concept of composition technique as a complex phenomenon, where the central place belongs to the method of sound organization, but which is indirectly connected with other aspects of music (metrorhythm, structure, texture, etc.). The influence of composition technique on the appearance of form. The general division of forms into: a) preserving old structural types, but modified by means of new compositional techniques and b) not preserving, that is, individually created anew in each work.
2. Chromatic tone and form. The primary connection of this technique with traditional types of forms. Properties of chromatic tonality (personality, twelve-step, separation of the function of the chord from its traditional structure) as a basis for rethinking the ways of creating a functional relief of the form.. New qualities of expositional and developmental presentation, depending on the choice of a specific harmonic language (in particular: the specificity of cadences in the period and sentence ; construction of moves in a rondo taking into account individual systems of tonal kinship, determined by the specific properties of a given tonal system; means of creating developmental instability in conditions of prevailing dissonance). Harmonic features of the standard form, performed using the means of a new tonality, by different authors. Demonstration using the example of Prokofiev’s music (showing the principle of the functioning of small forms in pieces from “Fleetnesses”: No. 1, 5, 10, rondo - using the example of a piece from the ballet “Romeo and Juliet” - “Juliet the Girl”, sonata form - using the example of the first parts of piano sonatas No. 5, 6, 7), Shostakovich and other authors.
3. Center technology, representing a natural stage in the evolution of tonality; as a consequence, the dominant orientation of forms associated with the technique of the center towards classical-romantic (that is, generated by tonality) types. The principle of technology (the central element of a non-traditional structure, projecting its properties onto secondary elements; the formation of a system of relations between elements according to the properties of the central element), which presupposes deliberately individual ways of recreating the traditional functions of standard forms. “Scriabin mode” (in the music of the late period of the composer’s work) as one of the embodiments of the center technique (“dominant-shaped” with a tritone chord as the center of the system; its recreations at a different height, exact or modified, as derivative elements; contrasting elements of another structures). A change in pitch position parallels a change in tonality. A system of kinship resulting from the structure of the central element (according to which the chords are closest at a distance of a tritone, as having a maximum of sound coincidences, and least at a distance of a fourth). Some limitation of the dynamic capabilities of the “Scriabin mode” (which are sometimes not enough to create the level of tension characteristic of the development of sonata form). Demonstration of the operation of a center technique of this type using the example of A. Scriabin’s late works (for example: a simple three-part form in the Prelude op. 67, a petit rondo, a single-themed three-part form in the play “Gloomy Flame” op. 73 No. 2, a sonata form in the Poem-Nocturne op. .61).
Required reading:
Form in music of the 17th-20th centuries. - M., 1998. - nie. Chapter 15.
Theoretical foundations of polyphony of the 20th century. - M., 1994. Musical composition of the 20th century: dialectics of creativity. - M., 1992.
XX century Foreign music. Essays. Documentation. - M., 1995. - Issue 1-2.
25. Neomodality and form. Seriality and form. Seriality and form
1.Neomodality and form. A variety of modes of the new modality, including, in addition to traditional diatonic ones, various chromatic ones: in particular, “Shostakovich modes”, symmetrical “Messiap modes”, etc. Interaction of modality and tonality. The coexistence and mutual influence of the functionality of the tonal type (primarily vertical-harmonic) and modal (primarily linear-melodic) type. The implementation of a new modality (historically associated with monody and polyphony) in different types of musical composition (including those that have lost connection with the melodic line), in conditions of different rhythms (including accented, which was not originally characteristic of the modality). The possibility of different types of thematicism in a new modality (in addition to the traditional melodic), in particular, textural. The admissibility of applying a new modality to forms of the classical-romantic type and those having a different, historically more traditional for modality, orientation (for example, line forms of Znamenny chant, Gregorian sequence, motet of the 16th century).
Methods for constructing a standard form using modal means; gradual deployment of a scale as a development technique; a change in the pitch position of a scale or a change in mode, partially compensating for the lack of tonal-functional development. Weakened modal functionality and its reflection in the softened functions of parts of the musical form. Low dynamic level of the modal form. Demonstration using the example of works by K. Debussy (for example, an example of a modal simple three-part form - “The Shepherd’s Tut” from Scene III of the ballet “The Toy Box”), B. Bartok (an example of a modal rondo - “Reflections” from the piano cycle “Microcosmos”), O. Messiaen (an example of a modal sonata form - the piano prelude “Reflection in the Wind”) and other composers.
2. Seriality and form. The principle of serial organization: the derivation of the entire musical fabric from the sequence of non-repeating sounds of a series. Genesis of technology; 12-sound rows and fields as preforms of dodecaphony. The acquisition of serial technology as a means of communication in a large whole (instead of the lost connecting role of tonality). The series as a borderline phenomenon between the spheres of modal (an analogue of a stable scale) and thematic (the source of motifs). A series is an intonation extract of a composition, which to a certain extent “programs” the structure of the form. The principle of working with the series: 4 main forms - initial, or prima (abbreviated as P or O), inversion (I), rakhod (R), rakhod inversion (RI) and their transpositions; fourth, fifth, tritone mutations, permutation, rotation, counter-rotation, interpolation, selection. The presentation of the series is single-track and multi-track (parallel execution of two or more serial series in different voices). Polyseriality (building a form based on two or more different series is rare). Basic norms of serial writing.
Warehouse and texture in a serial composition. With their significant diversity, there is a natural disposition towards polyphony (of a special kind). Serial harmony, directly dependent on the intervallic content of the series, but also on the methods of “unfolding” of the serial fabric (linear-melodic or chord-harmonic based on one serial series or by combining different serial series). Thematicism. There is a fundamental attraction to traditional melodic thematics, but at the same time the possibility of applying serial techniques to a different kind of thematism - textured, even sonorous. The special thematic richness of the serial fabric almost eliminates the opposition between the theme and the general forms of movement.
Recreating the functions of parts of a traditional musical form using serial means. Differentiation of serial series used in the form into main and secondary ones (similar to the main and secondary functions in tonal harmony). Transposition of a series as an analogue of a change of key. The principle of serial kinship; dependence of the kinship system (based on common sound elements) on the structure of the series. “Multi-layered” serial form; a combination in it (according to S. Kurbatskaya) of three plans, three systems of repetition: homophonic, polyphonic and actually serial. Demonstration of the principles of serial form using the example of music by A. Webern (Concerto for orchestra op. 24: the second movement is a simple three-part form, the third movement is a petite rondo, the first movement is a sonata form), L. Schnittke (Sonata No. 1 for violin and piano) but), R. Shchedrin (“Horizontal and Vertical” from the “Polyphonic Notebook” for piano), etc.
3. Seriality and form. The principle of seriality: the extension of serial organization to different parameters of music. Series of dynamics, rhythm, timbre, articulation. A series of different parameters, interconnected by a common principle and independent of each other. Radicalism of technology; its low compatibility with traditional types of forms; individual serial forms. Demonstration using the example of music by A. Pärt (Second Symphony), A. Schnittke (“Pianissimo”), etc.
“Russian” from the ballet “Petrushka”. Variations for violin and piano. Children's piece for piano. Stravinsky I'm J.F.K.'s Elegy for voice and instrumental ensemble.
Required reading:
Form in music of the 17th-20th centuries. - M., 1998. - Part 3, ch. b-7. Musical language technique. - M., 1994. Serial music: issues of history, theory, aesthetics. -M., 1996. Neomodality and musical form // Musical art of the 20th century: Creative process. Artistic phenomena. Theoretical concepts. - M., 1992.
Seriality and form:
Schoenberg is dead //Music. World. Being. - M., 1995. Dodecaphony and tonality // Philip Gershkovich about music. - M., 1991.
Exercises in counterpoint based on the twelve-tone technique // Musical art of the 20th century: Creative process. Artistic phenomena. Theoretical concepts. - M., 1992. Who invented the twelve-tone technique? // Problems of the history of Austro-German music. Sat. works of GMPI named after. Gnesins. - M., 1983.-Issue 70. Webern's music. - M, 1999.
Tonality and form:
Pierre Boulez as a theorist // The crisis of bourgeois culture and music. - M., 1983. - Bbin.4-
Pierre Boulez: theoretical concepts of tonal seriality and limited aleatorics // Modern foreign musical-theoretical systems. Sat. works of GMPI named after. Gnesins. - M., 1989.-Bbin.105.
On the analysis of Pierre Boulez's Third Piano Sonata // Musical art of the 20th century. - M, 1995. - Issue 2. Rhythmic progressions and series // Problems of musical rhythm. - M., 1978.
Towards a unified field of sound: Nr.2 by Karlheinz Stockhausen // Musical art of the 20th century. - M., 1995. - Issue 2.
Topic 26. Sonorica and form. Aleatorics and form1. Sonorica and form. Sonorous principle: pitch-undifferentiated colorful sonorities as the source musical material. Two types of sonorous material: a) based on sounds of a certain pitch and traditional timbres (classical instruments or human voices); b) based on sounds of indefinite height, noise produced in any way (including with the participation of classical instruments) and non-traditional timbres. Sonorous monody and sonorous polyphony (polyphony of layers), also aleatory heterophony, are the predominant types of storage. Micropolyphony as a means of creating internally mobile, but generally homogeneous sound masses. Features of rhythm with its tendency towards chronometry; displacement of the traditional metro-rhythmic measurement by the “close-up rhythm”. Types of sonors (according to A. Maklygin): dot, scattering, spot, line, stripe, or thickened line, flow.
The logic of sonorous construction is reverse in comparison with the classical one, which is based on a movement not from small to large (from motive to theme and beyond), but, on the contrary, from the idea of a volumetric and time-extended sound object to a more or less detailed depiction of it. Modification of the original sonority as a means of developing parts. Articulation of shape by changing paint. Smoothness and gradualness in the accumulation of new quality. The “anti-classical” essence of the form: focus on the sensory perception of a given moment, the predominant static nature of the form and the associated contemplation of its perception. Demonstration using the example of music by Y. Slonimsky (“Coloristic Fantasy” for piano, ronda-shaped form), K. Pepderetsky (“Train in memory of the victims of Hiroshima”, outer contours of a sonata form), D. Ligeti (“Lontano” for orchestra, multi-part composition form) etc.
2. Aleatoric and form. Aleatory principle: mobile coordination of parts and elements of a structure. Turning to aleatorics as a reaction to the hyper-organization of the music of the serial period. Allowing elements of chance into the composition (P. Boulez’s article declaring a new aesthetics is called “Alea” - dice). The possibility of applying aleatorics to musical material organized through various modal, serial, sonorant techniques. Gradations of freedom (according to E. Denisov): a) the form is stable - the fabric is mobile, b) the form is mobile - the fabric is stable, c) the form is mobile, the fabric is mobile. A complete rethinking of the concept of form (in comparison with the classical one) in the last two cases, abandoning its original design. “Group technique” (K. Stockhausen) as a method for realizing the second possibility (the fabric is stable - the form is mobile). Demonstration using the example of K. Serotsky’s piano piece “A piacere”. Stockhausen’s “intuitive” music (with its collective improvisation under the influence of the author’s verbal suggestion) as a reflection of the third, highest level of aleatory freedom (form is mobile - fabric is mobile). A fundamental change in the traditional “composer-performer” relationship, the most modern concept of “work” and, moreover, the social role and meaning of music.
Required reading:
KyureghyanT. Form in music of the 17th-20th centuries. - M, 1998. Part 3, chapter 18. Textural forms of sonorous music // Laudamus. - M, 1992. Stable and mobile elements of musical form and their interaction // Theoretical problems of musical forms and genres. - M., 1971.
Additional literature:
Sonorica and form:
Kudryashov Yu Catechism of the theory of sonorous mode // Problems of musicology. Aspects of theoretical musicology. LGITMiK them. . - M„ 1989. Issue 2.
Kurbatskaya S., Pierre Boulez. Edison Denisov. Analytical essays. - M., 1998.
D. Ligeti. Personality and creativity. / Comp. Yu. Kreinina. - M., 1993. Sonorous-coloristic tendency in the harmony of Russian and Soviet composers // Problems of stylistic renewal in Russian classical and Soviet music. - M., 1983.
Instrumental works by K. Penderecki of the early 60s // Problems of music of the 20th century. - Gorky, 1977.
Aleatorics and form:
VLyutoslavsky’s aleatorics and features of its use in the Second Symphony // Problems of music of the 20th century. - Gorky, 1977. “Plus-Minus” by K. Stockhausen: symbol and sound // Musical culture in the Federal Republic of Germany. Symposium.-L., 199O.-Kassl, 1994.
Topic 27. Form in electronic music. Concrete music. Polystylistics and form
1. Form in electronic music. Specificity of material in electronic music. Various ways of producing and existing electronic sound; variety of its characteristics. The fundamental possibility of reproducing old material and form by electronic means. Great prospects for the search for new sounds and ways of their design: expanding the boundaries of the material and searching for the appropriate form; also vice versa, the creation of material that meets the needs of the new form. Possibility of correlation between micro and macro levels. A combination of electronic and natural sounds. Demonstration using the example of music by E. Denisov (“Birdsong”), S. Gubaidulina (“Vivente non vivente”) and others.
2. Concrete music(recorded “natural” sounds on film, including those transformed with the help of electrical equipment: “Symphony for one person” by P. Schaeffer and P. Henri) as a phenomenon associated with electronics in the form of its existence (tape recording), but opposite to it, abstracted from everything natural with its “raw vitality”. Organization of concrete music using elementary means (such as ostinato, reprise, refrain, etc.), borrowed from traditional form-building.
3. Polystylistics and form. Polystylistics is a combination of heterogeneous stylistic layers in music. Aesthetic acceptability of stylistic mixtures as a reflection of the specifics of modern artistic existence (with its appeal to the art of different times and peoples). Similar trends in literature, architecture, painting. Collage as a related but narrower concept to polystylistics. Genesis of the phenomenon. Elements of polystylistics in the first half of the 20th century (in particular, in Ives, Stravinsky). Principles of quotation, pseudoquotation, allusion. The main methods of handling foreign material: a) its gradual preparation throughout the course of development (E. Denisov. “DSCH” for chamber ensemble); b) introduction according to the principle of contrast as a means of creating a climax (A. Pärt. Second Symphony, finale); c) regular repeated appearance of collage inserts, creating an independent, purposeful line of development (A. Schnittke. Second Sonata for violin and piano); d) the simultaneous coexistence of borrowed and original material with the shading and commentary role of the latter (C. Berio. Symphony for orchestra and 8 singing voices, scherzo).
Required reading:
“Birdsong” by E. Denisov: composition - graphics - execution // Light. Good. Eternity. In memory of Edison Denisov. - M., 1999. Polystylistic trends in modern music // Alfred Schnittke. - M, 1990Additional reading:
Form in electronic music:
Electroacoustic and experimental music // Musical culture in the Federal Republic of Germany. Symposium. - L., 1990. - Kassel, 1994.
Polystylistics and form:
On the perception of elements of the style of the past in a modern work // Traditions of musical art and musical practice of our time. - Leningrad, 1981.
. About two types of allusions in the musical language of composers of the “new simplicity” // Musical culture in the Federal Republic of Germany. Symposium.-L., 1990. - Kassel, 1994. Contemporary music in the aspect of “new eclecticism” // Music of the 20th century. Moscow Forum. - M., 1999.
Functions of quotation in a musical text // Soviet music. 1975 No. 8.
Alfred Schnittke. - M., 1990. Notes on the poetics of modern music // Contemporary art of musical composition. Sat. works of GMPI named after. Gnesins. - M., l985.Bbin.79.
Topic 28. Repetitive technique. Individual (non-standard) forms
1. Repetitive technique. Minimalism as a general aesthetic prerequisite for repetition technique. The components of the rehearsal technique are: brief melodic-rhythmic constructions, clearly metered, with a modally interpreted tonality at the core; repeated repetition of these constructions with their fundamental functional equality; the static musical form of the whole. Properties of a static form: identity of elements and the whole, lack of development, conventionality of beginning and end. Demonstration using the example of music by Riley ("In C"), Pärt ("Modus"), Martynov and others.
2. Individual (non-standard) forms. The genesis of individual forms, their individual examples in the late romantic era. Individualization of shaping as the completion of the process of consistent individualization of all parameters of music. The need for systematics. Impossibility of unambiguous taxonomy. The principle of constructing a system of forms based on various characteristics. Principles of existing taxonomies of forms (K. Stockhausen, Y. Kholopov, V. Kholopova, V. Tsenova, etc.). Samples of new forms using the example of Stockhausen's music and according to his own taxonomy (according to three parameters, namely the nature of the material: 1,2,3, the degree of determinism: I, II, III, the nature of development: A, B, C). The compositions differ in material: 1) “pointillistic”, their material is individual tones, between which equality is established (“Cross play” for instrumental ensemble); 2) “group”, their material is characteristic groups of tones, between which (groups), despite the differentiation of scale and appearance, equality is also maintained (“Groups” for three orchestras); 3) “statistical”, their material is a set of elements organized according to the laws of large numbers, including individual tones and groups (“Measures of time” for 5 wind instruments). According to the degree of determinism, the compositions differ: 1) determined (Keyboard pieces 1-IV); 2) variable (Keyboard pieces V-X); 3) multi-valued (Keyboard Piece XI, “Cycles” for percussion instruments). The compositions differ according to the nature of development: developmental or dramatic (traditional forms of the previous era, Stockhausen has no similar ones); B) suite (composite principle at the level of the whole; Stockhausen himself refers to Ligeti’s “Lontano”); B) moment-form (the most radical rethinking of the entire concept of form, which is understood as open and non-directional - decentered or polycentered - the succession of an indefinite number of self-sufficient and self-contained moments - moments that merge with eternity: “Moments” for soprano, four choirs groups and thirteen instruments).
The fundamental plurality of approaches to form in modern music; their irreducibility to the Stockhausen system.
Required reading:
Repetitive technique and minimalism // Musical Academy. 1992.No.4.
Atypical forms in Soviet music of the 50-70s // Problems of musical science. - M., 1989. Issue 7.
Music of the 20th century in a university course on the analysis of musical works // Modern music in theoretical courses at a university. Sat. works of GMPI named after. Gnesins. - M., 1980. Issue 51. Typology of musical forms of the second half of the 20th century // Problems of musical form in theoretical university courses. Sat. works of GMPI named after. Gnessins, Russian State Conservatory named after. . - M, 1994. Issue 132. On modern taxonomy of musical forms // I. audamus. - M., 1992.
Additional literature:
Rehearsal techniques and form:
“Alternative-90”: the edges of minimalism. Music. Express information. - M., 1991. Issue 2. Static tonality // Laudamus. - M., 1992.
Individual (non-standard) forms:
Towards the systematization of forms V music of the 20th century // Music of the 20th century. Moscow Forum. - M., 1999.
On the issue of individualization of forms // Style trends in Soviet music of the 1990s. - Leningrad, 1979. Musical ideas and musical reality of Karlheinz Stockhausen // Theory and practice of modern bourgeois culture: problems of criticism. Sat. works of GMPI named after. Gnesins. - M., 1987. Issue 94. Musical theoretical system of K. Stockhausen. - M., 1990.
Sample exam questions
1. The essence of music as an art form
2. Music genre
3. Musical style
4. Expressive means of music. Melody
6. Warehouse and invoice
7. Tsmatism. Thematic development. Functions of parts of musical form
8. Instrumental forms of the Baroque
9. Form of the classical period
10.Simple forms
11. Complex shapes
12.Variations. Types of variations.
13. Classic Rondo shape
14.Classical sonata form. Exposition structure
15.Development in classical sonata form
16. Various types of reprises in classical sonata form. Code
17. Special varieties of sonata form
18. Rondo sonata form
19.Sonata-symphonic cycle
20.Free forms of romantics
21. General characteristics of the forms of the 20th century. Chromatic tonality. Center technique (serialism, sonorics, aleatorics and 20th century forms).
1. Chromatic fantasy and fugue
2.B ah I.S. Concerto for clavier in D minor, 1st movement
3. Beethoven L. Piano Concerto No. 4, 1st movement and finale
4. Sonata No. 9, 2nd movement
5. Variations for piano in F major
6.P Rokofiev S. Five pieces from the ballet “Cinderella” for violin and piano. Waltz, mazurka
7. Quartet No. 3, slow movement
8. Violin Concerto, Passacaglia
Sample exam papers:
Option I
1. Rondo form and baroque concert form
2. Thematicism. Thematic development. Functions of parts of musical form
3. Beethoven, sonata No. 25, finale
Option II
1.Classical sonata form. Exposition structure
2. Music genre
3.Prokofiev, violin concerto No. 2, slow movement
LITERATURE
Required reading:
Analysis of musical works. Rondo in the music of the 20th century. - M, 1996.
Form in music of the 17th-20th centuries. - M., 1998.
Musical style and genre. History and modernity. - M., 1990.
On the laws and means of the artistic influence of music. - M., 1976.
Intonation form of music. - M, 1993. Technique of my musical language. - M, 1994.
Repetitive technique and minimalism // Musical Academy. 1992 No. 4.
Skrebkova- Texture in music. - M. 1985. Musical form. - M.-Ya, 1980.
Forms of musical works. - St. Petersburg, 1999.
Analysis of musical works. Variation form. - M, 1974.
Polystylistic trends in modern music// Alfred Schnittke. - M., 1990.
Additional literature:
DyachkovaL. Harmony in the music of the 20th century. - M., 1994. The formation of sonata form in the pre-classical era // Questions of musical form. - M., 1972. Issue 2. Stravinsky's polyphonic thinking. – M., 1980. Rhetoric and Western European music of the 17th-first half of the 19th century: principles, techniques. - M., 1983.
Period, meter, form // Music Academy, 1996. No. 1.
Fundamentals of musical analysis. - M., 2000. Plot dramaturgy of Beethoven's symphony (fifth and ninth symphonies) // Beethoven. - M., 1972. Issue 2.
Musical composition of the 20th century: dialectics of creativity. - M.1992.
Chigareva E - Alfred Schnittke. - M., 1990
Polystylistic trends in modern music//, Chigareva Schnittke. - M., 1990.
The story of the creation of Beethoven's Moonlight Sonata is closely connected with his biography, as well as with hearing loss. While writing his famous work, he experienced serious health problems, although he was at the peak of his popularity. He was a welcome guest in aristocratic salons, worked a lot and was considered a fashionable musician. He already had many works to his credit, including sonatas. However, it is the essay in question that is considered one of the most successful in his work.
Meet Giulietta Guicciardi
The history of the creation of Beethoven’s “Moonlight Sonata” is directly related to this woman, since it was to her that he dedicated his new creation. She was a countess and at the time of her acquaintance with the famous composer she was still at a very young age.
Together with her cousins, the girl began to take lessons from him and captivated her teacher with her cheerfulness, good nature and sociability. Beethoven fell in love with her and dreamed of marrying the young beauty. This new feeling caused a creative surge in him, and he enthusiastically began working on the work, which has now acquired cult status.
Gap
The history of the creation of Beethoven's Moonlight Sonata, in fact, repeats all the vicissitudes of this personal drama of the composer. Juliet loved her teacher, and at first it seemed that things were heading towards marriage. However, the young coquette subsequently chose a prominent count over the poor musician, whom she eventually married. This was a heavy blow for the composer, which was reflected in the second part of the work in question. It conveys pain, anger and despair, which contrasts sharply with the serene sound of the first movement. The author's depression was also aggravated by hearing loss.
Disease
The history of the creation of Beethoven's Moonlight Sonata is as dramatic as the fate of its author. He experienced serious problems due to inflammation of the auditory nerve, which led to almost complete hearing loss. He was forced to stand close to the stage in order to hear the sounds. This could not but affect his work.
Beethoven was famous for his ability to accurately select the right notes, choosing the necessary musical shades and tonality from the rich palette of the orchestra. Now it was becoming more and more difficult for him to work every day. The composer's gloomy mood was also reflected in the work under consideration, in the second part of which there is a motif of a rebellious impulse that seems to find no outlet. Undoubtedly, this theme is connected with the torment that the composer experienced when writing the melody.
Name
The history of the creation of Beethoven's Moonlight Sonata is of great importance for understanding the composer's work. Briefly about this event, we can say the following: it testifies to the impressionability of the composer, as well as how close he took this personal tragedy to his heart. Therefore, the second part of the essay is written in an angry tone, which is why many believe that the title does not correspond to the content.
However, it reminded the composer’s friend, poet and music critic Ludwig Relstab, of the image of a lake at night under moonlight. The second version of the origin of the name is due to the fact that at the time in question there was a prevailing fashion for everything that was in one way or another connected with the moon, so contemporaries willingly accepted this beautiful epithet.
Further fate
The history of the creation of Beethoven's Moonlight Sonata should be briefly considered in the context of the composer's biography, since unrequited love influenced his entire subsequent life. After breaking up with Juliet, he left Vienna and moved to the city, where he wrote his famous will. In it he poured out those bitter feelings that were reflected in his work. The composer wrote that, despite his apparent gloom and gloom, he was predisposed to kindness and tenderness. He also complained about his deafness.
The history of the creation of Beethoven’s “Moonlight Sonata” 14 largely helps to understand further events in his life. Out of despair, he almost decided to commit suicide, but in the end he pulled himself together and, being almost completely deaf, wrote his most famous works. A few years later, the lovers met again. It is significant that Juliet was the first to come to the composer.
She recalled her happy youth, complained about poverty and asked for money. Beethoven lent her a significant amount, but asked her not to meet with him again. In 1826, the maestro became seriously ill and suffered for several months, but not so much from physical pain as from the consciousness that he could not work. The following year he died, and after his death a tender letter was found dedicated to Juliet, proving that the great musician retained a feeling of love for the woman who inspired him to create his most famous composition. So, one of the most prominent representatives was Ludwig Van Beethoven. “Moonlight Sonata,” the history of which was briefly discussed in this essay, is still performed on the best stages around the world.
STRUCTURAL ANALYSIS OF L. BEETHOVEN'S TWENTIETH PIANO SONATA
L. Beethoven's Twentieth Piano Sonata (op. 49Nr. 2), which became the subject of our analysis, is one of the bright, sunny pages of the music of the great German master. It is distinguished by its relative simplicity for perception, but at the same time it contains bold decisions in the field of form and interesting compositional discoveries.
Sonata No. 20 is distinguished by its short length of parts, very small development in sonata styleallegrothe first part, the “lightness” of the texture, the general joyful and upbeat mood. Usually all of the above signs are attributes of “sonatinity”. But the scale and significance of the music we are studying, its aesthetic depth indicate the “serious” origin of the sonata.
L. Beethoven is a brilliant innovator, a true revolutionary in the field of musical form. The number of parts in a sonata cycle and their ratio, the sequence of the composer often varies depending on the artistic task. Thus, in the twentieth piano sonata there are only two movements - sonataAllegroand Minuet.
In this work, L. Beethoven limits his compositional thinking to a rather meager, economical use of musical expressive means, which formally fit well within the framework of classicism. There are no bright thematic, dynamic, tempo and register contrasts characteristic of L. Beethoven’s style (as, for example, in “Aurora”). But there are elements of theatricality, in the sonataallegro– intonations of “fanfare” and “sighs”.
However, in the perfection of the architectonics of the sonata form, in the virtuoso ability to develop, compare and produce one theme from another, one can discern the creative style of L. Beethoven.
The tonality of both parts isG- dur, cheerful character. Intonation connections between parts are revealed. Let's point out some of them:
Moves based on the sounds of the triad (the beginning of the main section of the first part, the cadence zones of the sentences of the first period of the Minuet, its trio);
Chromatic movement (second section of the first movement, final cadence of the first period of the Minuet);
Gamma-shaped movement (Z.p. of the first part of the sonataallegro, an episode of the first part of a complex three-part form (acting as the first part of a complex three-part form (!) Minuet).
Let us dwell in more detail on each of the movements of the twentieth piano sonata.
First part (Allegromanontroppo) is written in sonata form (see Appendix No. 1), where the development has a very short length. Only the exposition is marked by repetition. Let us note that L. Beethoven already in his early sonatas “abolished” the repetition of development and reprise.
The exposure takes 52 ticks. In it, places of “increased semantic tension” (in G.p., P.p.) alternate with general forms of movement (in Sv.p., Z.p.). Joyful emotions dominate in various gradations: cheerful, decisive, affirming, as well as tender and affectionate.
G.p. occupies the first sentence of the exhibition period (vols 1-4). One might mistakenly assume that G.p. has a period form (“classical” type) and ends in bar 8, followed by St.p. But, firstly, the cadence of the second sentence is too much “fused” with the subsequent musical material. And secondly, in the first period of the reprise of the sonata form, in the final cadence a modulation occurs into the subdominant. And modulation is a sign of S.p., and by no means G.p., the tonal-harmonic function of which is to show the main tonality and consolidate it.
So, G.p. polymotive. Active intonations of the first phrase (melodic move after the tonic chord onforte ) are opposed by soft melodious phrases in two voices. The melodious phrases of the upper voice have an ascending direction followed by a “rounding” interspersed with melismatics. There is “warm” harmonic support in the lower voice. There is a momentary deviation into the subdominant in order to highlight the main key.
In St.p. three sections. The first section (5-8 volumes) is built on the varied material of G.p., presented an octave higher. In the lower voice, movement in eighths appears (on a weak eighth, the fifth degree is repeated over the course of two measures).
Second section of St.p. (9-15 vols.) is given on new material. Graceful chromaticisms (auxiliary and passing tones) appear in it. The sequential downward movement of phrases with “feminine” endings is replaced by a scale-like sequence of sounds.
Harmonious development leads toD-> D, after which the third section of St.p. begins. (15-20). Its goal is to “prepare the ground” for P.p., to bring it to the key of the dominant. Third section of St.p. is given on the dominant (in relation to the main key of the sonata) organ point (the lower tone of the figurations in the triplet rhythm in the left hand). In the right hand there are playful motifs based on chord sounds (authentic turns). It feels like some kind of game.
After stopping on the dominant (in relation to the main key), the P.P. begins. (D- dur, 21-36 vols.). Form P.p. - double period of two complex sentences of repeated structure (square, single-tone). In the motives of its first phrases, a derivative from the second element of G.p. is revealed. – second intonationslamentoonpiano , predominance of upward movement. Accompanied by an analogy with the movement of eighth durations in the first section of St.p. Further in pp. there are two elegant phrases in a high register, accompanied by tertian “squats” in the accompaniment. In the half cadence there are second-long “sighs”, interrupted by pauses (rhythmic similarity with the “female” endings in the phrases of the second section of St.p. In the final cadence, this phrase is given in a varied manner - in a smooth movement in eighth durations.
Salary (vol. 36-52) begins with an invading cadence. It can be divided into two sections. The first section of the salary clause (36-49) is built on cadence in the key of the dominant. In a triplet rhythm, scale sequences “scatter” across octaves, stopping at rehearsals of a single tone, accompanied by figurations in the left hand.
Second section of the salary clause at the organ point, the dominant tonality is fixed. The musical material is similar to section 3 of St. p.
The development (53-66 volumes) introduces the minor sphere (chiaroscuro effect). Consists of two sections. In the first section (vols 53-59), the elements of G.p. are developed. (tonal transposition, variation). Development begins with the tonic of the same key (in relation to the key in which the exposition ended;d- moll). In the process of harmonious development, thea- mollAnde- moll. That is, in the tonal plan of the first section of the development, a certain logic can be traced (along the quarto-fifth circle).
The second section of the development (60-66 vols.) - the prequel - is given in a parallel key (in relation to the main key of the sonata;e- moll). Intonationlamentoin the upper register, interrupted by pauses, sequenced, accompanied by pulsating eighth notes at the dominant organ point. At the end of the development, the dominant of the main key appears, the descending movement of the eighth notes “crashes” into the reprise.
G.p. (67-70 vols.) in reprise (67-122 vols.) passes without changes.
At the end of the first section of St.p. (71-75 volumes) modulation is made into the tonality of the subdominant.
Second section of St.p. (71-82 vols.) completely revised. In terms of material, it is similar (in its first four measures it is even identical, taking into account the tonal transposition) to the first section of the Z.p. At its end there is a deviation into the tonality of the sixth degree.
Third section of St.p. (82-87 volumes) does not contain changes, not even transposition! This is a curious decision of L. Beethoven - to build the third section of St.p. in such a way that it is suitable both for further establishing the dominant sphere and for remaining in the main key.
The side part in the reprise (vol. 88-103) sounds unchanged (apart from tonal transposition).
The first section of the salary clause (103-116 vols.) contains slight variation during deviation inVIstep.
Second section of the salary clause (116-122 tt.) expanded due to additional sequencing. The goal is the final approval of the main keyG- dur.
At the end of the reprise, two staccato chords (D 7 - T).
Second movement of the twentieth piano sonata – Minuet (TempodiMenuetto, G- dur). L. Beethoven retains the typical features of this dance, but brings poetry and lyricism to it. Danceability is combined in the minuet with subtle melodious melody.
The form of the second part of the sonata is a complex three-part one (see Appendix No. 2). The first part of this complex three-part form is also a complex three-part; the reprise is shortened - its form is a simple three-part. There is a code.
The first part of a complex three-part form (exposition, 1-68 volumes), which itself is also the first part of a complex three-part form, is written in a simple three-part form (1-20 volumes). Its first part (1-8 volumes) is a one-tone square period of two sentences of repeated structure. The melodic line of the period is very graceful, contains a dotted rhythm (like squats), the large-scale thematic structure of both sentences is summation. The theme is predominantly diatonic, only in the final cadence does the “flirty” appearIV. The accompaniment pulsates in eighths along the chord sounds.
The second part of a simple three-part form (9-12 volumes) develops the thematic elements of the first part. AffectedIVAndIIIsteps.
After the half cadence there is a reprise of a simple three-part form (13-20 volumes). The melodic line varied in the final cadence zone is given an octave higher.
The second part of the complex three-part form (21-47 volumes) is a trio with two independent sections. One could see in the trio a simple two-part non-reprise form, but the material of the parts is too heterogeneous.
The first section (21-28 volumes) has the form of a square modulating tonalityIIdursteps (A- dur) period of two sentences of re-building. The first section begins in the main key. Tertian moves in the high register are accompanied by an ascending gamma-shaped movement in the lower voice; in the second sentence the voices change places.
The second section (28-36 volumes) takes place in the key of the dominant. An atmosphere of carefree fun reigns here. You can hear folk tunes in the music. The playful, simple melody is accompanied by Albertian basses on the dominant organ point (the organ point is removed only before the chord).
The purpose of the link (36-47 volumes) is a smooth translation into a reprise of a complex three-part form. In conjunction, the motivic development of the first section of the trio turns into cadence at the dominant organ point to the main key.
An exact reprise of a complex three-part form (48-67 volumes).
The second part of the complex three-part minuet form is a trio (68-87 volumes). It is harmonically open. Starts atC- dur. Developing as a period of two sentences of repeated construction, it contains a copula to reprise. The topic is polymotive. “Fanfare” against the background of octave accompaniment moves alternates with an ascending sequence of cantabile phrases.
After the link, where the modulation occurs in the main key, there follows a reprise and a coda of a complex three-part form (88-107 volumes, 108-120 volumes). The reprise has been shortened. All that remains is an exact repetition of the exposure (the first part) of a complex three-part form.
Code based on the exhibition material. It contains motive development, deviations into the subdominant sphere. Ends with a statement of tonic and joyful dance mood.
Note that due to the specificity of the form, it is possible to catch the signs of a “simple” rondo. The first part of the complex three-part form (vols 1-20) can be considered as a refrain. The second part of the complex tripartite form (which is itself the first part of the complex tripartite form), therefore, will act as the first episode (vols 21-47). And the “C major” trio (vol. 68-87) will become the second episode.
A structural analysis of the twentieth piano sonata allows us to get closer to understanding the logic of L. Beethoven’s composer’s thinking and to understand the composer’s role as a reformer of the piano sonata genre. This area was the “creative laboratory” of L. Beethoven; each sonata has its own unique artistic appearance. Two-movement sonata op. 49Nr. 2 by L. Beethoven is unusually inspired and poetic, as if covered in warmth and warmed by the radiant sun.
Bibliography
Alschwang A. Ludwig van Beethoven. M., 1977
Mazel L. The structure of musical works. M., 1979
Protopopov V.V. Beethoven's principles of musical form. M., 1970
Kholopova V. Analysis of musical forms. "Lan", M., 2001
Holistic analysis of the content and form of the sonata Op. 31 No. 2 in D minor (No. 17)
Piano Sonata in D minor, op. 31 No. 2, was written by L. van Beethoven in 1802, together with sonatas No. 16 and No. 18. Unofficial titles: “The Tempest”, “Sonata with Recitative”, “Shakespearean Sonata”. It is believed that Sonata No. 17 is a psychological portrait of the composer himself. Unlike other sonatas, it comes without a dedication. 1802 is a period of tragic reflections, gloomy feelings, thoughts of suicide due to deafness, and the collapse of hopes for personal happiness. It was in 1802 that the composer wrote the famous “Heiligenstadt Testament” (see Appendix 1). After the death of L. van Beethoven, several documents were discovered in a secret drawer of his closet, to which he apparently attached special importance. One of these documents was a poignant letter written by him in October 1802 in the village of Heiligenstadt near Vienna and called the “Heiligenstadt Testament”.
A dramatic worldview appeared in the seventeenth sonata not only in the figurative and intonation plan, but also in the freer, improvisational logic of constructing the musical form, and the end-to-end development of thematics. This sonata continues the line of fantasy sonatas with intense lyric-dramatic development, so there are no clear cadences between sections of the sonata form; most often, the end of one section is also the beginning of another. This connection is possible thanks to the musical characteristics of the sonata's themes, which often begin and end with dominant harmony. It should be said that tense dominant harmony (usually in the form of a seventh chord) is used here more often than sustained harmonies, which creates a strong tension and aspiration of the musical movement of the sonata. In this sonata, like some previous ones, L. vanBeethoven again returns to pathetic moods, to the epic and majestic flow of images of his first allegro and largo. It is remarkable that more and more new searches for dramatic expressiveness force L. van Beethoven, as it were, to exceed the limit, to cross the boundaries of purely instrumental techniques. The entire piano palette, even enriched with echoes of symphonic timbres, is not enough for him. And in the development of the allegro of this sonata, a vocal recitative appears, so expressive that we seem to hear an unspoken word, which many years later will be heard in the vocal part of the ninth symphony. The melodic material of the middle part of the adagio is also noted for its extraordinary expressiveness. The melody runs against the backdrop of short, tremulous timpani beats, like a living voice, stern and persuasive. These speech intonations are replaced by a spontaneous beginning in a wonderful finale, creating the impression of either a slight movement of the wind or a stormy whirlwind.
Sonata No. 17 continues the line of fantasy sonatas: lyrical-psychological, passionate tone of expression, psychological contrasts of a high level of tension, techniques of improvisational, fantasy music, but unlike sonata No. 14, it does not have the title “Sonataquasiuna Fantasia”. The content of the sonata is lyrics of a passionate, stormy, dramatized sound, a return to pathos, but with psychological understanding. The cycle has three parts, seemingly classical structure: Largo - Allegro, d-moll; Adagio, B major; Allegretto, d-moll. Each movement is written in the sonata form of various variants, complicated by the features of other forms: fantasy (elements, structure, development techniques), variation (all themes in all parts based on common elements as variants), end-to-end form (no exact reprise repetitions).
The first movement is a complete sonata form, but thanks to individual thematicism, it has a number of sharply innovative musical ideas in dramaturgy, composition, and language. The main part (bars 1 - 20) in the exposition is built on two contrasting elements: arpeggiato and arioso-recitative descending second intonations-sighs. The first construction - d-minor, begins with the dominant function. The second structure of the main part is a variant of the initial one, but in the key of F-dur, with an expansion of the structure and intonation and modal-tonal development. These two constructions have a kind of introductory meaning - in the course of free improvisational presentation, a gradual crystallization of thought occurs. It acquires a clear design only in the third structure, which plays a connecting role, but despite this, it does not have a single stable, in the full sense of the word, expositional structure. The image is revealed from the very beginning in the process of growth and development. The main part has the form of a period, which consists of two sentences. The first sentence is 6 bars (2+4) with a cadence on the dominant, the second sentence is 14 bars (2+12) with a cadence on the d-minor tonic intruding into the connecting section. A period with expansion, because the second sentence expands in the cadence zone by 6 bars thanks to the dramatic recitative against the background of the cadence quarter-sex chord. The first sentence consists of two phrases - one phrase is 2 measures, and the second is 4 measures. The second sentence also consists of two phrases - one is 2 bars, and the second is long of 12 bars. This phrase is built on a series of motives that are repeated sequentially, first in an ascending direction, then in a descending direction, and the last chromatic final motive in the main part. This period has a type of large-scale thematic structure - summation. The period has a type of repeated structure, since the beginnings of two sentences are the same only with the difference that they sound in different keys. Both sentences consist of two parts based on intonationally contrasting elements.
The first phrase of the main theme (2 measures) is based on the first element - an arpeggiated ascending sixth chord (dominant in the first sentence, dominant in the second to the third degree). By nature he is questioning and contemplative. Its genre foundations include signaling (more precisely, the sound of a fanfare) and declamation. Although the genre basis of the fanfare is very veiled by the dynamics of pianissimo and improvisational free rhythm, and the declamation sounds like a quiet question hanging on the dominant.
The second construction of the main theme, dramatic in nature, consists of the second and third elements. The intonations of the second element have a descending direction. Declamation is clearly manifested in the genre's foundations, especially lamento intonation - a second descent with an emphasis on the first note - from this mini-intonation the entire melodic line of the first sentence is completely built, with supporting sounds outlining the Phrygian turn in minor, first from A, then from D. And in the second sentence, the rhythmic division of two eighth notes is preserved, and the melodic movement is dynamized, large leaps appear, rising in waves to the climax in bar 13 and falling down to the tonic. Also in this part of the theme, a third element appears, the genre basis of which is associated with a march based on uniform chord accompaniment. In the second sentence, this chord accompaniment on the weak beats (2 and 4) gives the opposite effect of “difficult breathing.”
The harmony of the main theme is simple, set out in clear chords, built in the first sentence on passing revolutions from D6 to T6, in d-moll and g-moll and stops at the dominant, and in the second sentence on the deviation in III, the subdominant and the use of tense harmonies of the Neapolitan sixth chord and diminished seventh chords. A period with deviation, because the second sentence begins in a new key, but by the end it returns to the main key. After the composer has presented the main theme, he begins to develop the main theme, or rather, modify its first element. And this is the beginning of the connecting section of the exhibition.
Classifying the main theme of the seventeenth sonata as a chant type may cause controversy. Shouldn't we see initio in its recitative two-beat? Yes, it has the weight and aspiration inherent in initio, but there are also contraindications to this. First of all - the pace of Largo. At this tempo, even a short thematic turn, moving along the sounds of a triad, can appear sing-song - it all depends on the nature of the performance. We must not lose sight of the fact that in the reprise the chanting tones of the Largo are continued by the recitative itself, and their nature is revealed. The formal feature that distinguishes the chant from the initio is also important: the latter, as explained above, moves after the first sentence, while the chant is repeated only after the attached second element in the next sentence of the period. This is exactly the structure of the topic here: ab+a1b1.
The movement of the chant in the second sentence into parallel is unusual for this type of theme, but there is also something unusual about this theme: the beginning of the main part with a dominant chord is the first time in the history of sonata form.
The connecting part (bars 21 - 40) has a common character with the main part, but a more excited image, a triplet rhythm, and the roll call of two bright motives - the bass and the upper voice - create a dialogue of two contrasting principles, typical of L. van Beethoven. An ascending movement along the sounds of laid out chords is a strong-willed, objective proclamation and lamentable, lamentable, chanting phrases based on subjective, emotionally expressive second intonation. Never before has the thematic character of the connecting part in L. van Beethoven's sonatas been distinguished by such bright individuality, prominence and functional significance in the further development of sonata dramaturgy. Written in the key of d-moll with modulation in a-moll. The connecting section is a development of the main theme, based on dialogue in different registers of intonation of the first two elements of the main part and modulation into the dominant key. Structurally, this section takes 20 measures and is built on the principle of fragmentation into smaller and smaller constructions (4 + 4 + 2 + 2 + 2 + 2 + 2 + 1 + 1), and rising sequentially. The tension in the section is also given by the triplet harmonic figurations.
It is interesting to trace the transformation of intonation: in the first fanfare intonation, when transferred to a minor key on forte, the declamatory component intensifies, now it sounds like an exclamation. The second intonation, thanks to the appearance of the beat, becomes more melodious, but in the process of development it is concentrated in one sound-exclamation. The tonal plan of the section presents a modulation from D minor to A minor, through a brightly tense diminished double dominant chord to A minor. The construction is developmental in nature. “This is where the real drama begins,” writes Romain Rolland. And indeed, the roll calls of two voices are a dialogue between two participants in the action. Almost visually, there is an “advance” of the lower voice and a “retreat” of the upper one. The fact that we recognize in these voices the transformed elements of the main party serves as another argument in favor of treating them as “actors.” Here the illusion of combining functions is created, since in the main part these “persons” are only preparing for action, which gives the initial stage of the exposition the meaning of a dramatic introduction; the action itself begins with the connecting part. The intensity of passions in this section of the exhibition reaches its climax at the climax, where the motive of the upper voice is compressed into one sound, containing the richest internal content. This compaction of the intonation space leads to the fact that the expression contained in it requires release, and as a result of the straightening of the intonation space, a moment arises of combining the functions of development and presentation - the theme of a side part is born.
The side part (bars 41 - 54) is a new version of the development of the lyrical elements of the main part. The tonality of a-minor indicates a strong tonic-dominant connection between these themes. Like the main part, the side part begins with a dominant function, which maintains the tense tone of the presentation. The arioso-monological type of melody creates a strong contrast in relation to the previous thematic theme, and this, in turn, sharpens and extremely concentrates attention on the events taking place in the exhibition. The theme of the side part grows out of the lamento intonations of the main theme, maintaining its characteristic rhythm. Her small phrases sound more pleading, doomed, than the aspiring single line in the main part. The side game has the form of a period of 3 clauses (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The first two sentences consist of two motives of 1 measure and a phrase of 2 measures. The third sentence consists of 2 motives of 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins the same way only with different sounds. The period is single tone. Has no modulations or deviations. The 1st and 2nd cadences end on the tonic, and the final cadence ends on the tonic sixth chord. The harmony is simple, consisting of the tonic and dominant (to a greater extent), set out in melodic figuration around the V degree, with the inclusion of the sounds of the seventh and none. The theme of the side part unfolds in short, excited chants, the repetitions of which may have been generated by the imitative system. It is significant that the theme of the secondary part is introduced as if “on the fly” and sounds on the dominant organ point of the dominant key, that is, on the harmony of the usual precursor to the secondary part. The reason for this is the activity of dramatic action, as if compressing the intonation space in all its parameters.
The final part (55 - 92 bars) contains intonation elements of all previous images, thereby, as it were, summing up the first expositional stage of the development of the action. It also ends quite significantly: on the dominant to the main key (the sound of A), as if opening the way to a new stage of development. Written in the key of A minor in period form with additions. Has a scale of 38 cycles. Consists of 4 sentences. The first sentence is 8 bars, consists of 2 motives of two bars and a phrase of 4 bars. Ends with a half cadence on a tonic triad. It is built on the alternation of the tonic A-moll sixth chord and the Neapolitan sixth chord. Already in this section, a rhythmic figure emerges with an emphasis on the second note, opposite to the lamento rhythm. The second sentence has a size of 6 bars, consists of three phrases of 2 bars each. In the next sentence, this figure is clearly manifested in a descending movement of parallel thirds, reminiscent of the main part. The size is 6 bars, consists of 6 motives of 1 bar each. The fourth sentence is 18 bars, consists of 4 motives of 2 bars each and a large phrase of 10 bars. Here development slows down. In this section, against the background of swirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeatedly drawn descending Phrygian revolution from the note E. The same turn in octave unison completes the exposition. The final batch represents a period of non-repetitive construction. Each sentence has its own new topic, not similar to the previous one. Single tone. The final cadence ends on D to the main key. Calming is carried out by alternating the harmony of the cadence quartet-sex chord and the dominant, which also violates the stereotype familiar to L. van Beethoven himself. The more significant is the moment of the tonic in A minor. Behind her deep calm lies the outcome of the drama she experienced.
The unity of the exposition is very clearly reflected in the system of cadences separating the parts of the sonata exposition: 20 bars of the main part - an invading cadence in A minor; 41 bars before the invading cadence in A minor; after 24 bars the second cadence is in A minor, with a stop. The system of cadences comes into conflict with the thematic material, because the connecting part is entirely based on the main theme and therefore seems to provide its continuation, and the side part is separated: 40 bars main and connecting, 45 bars side and final. Such a discrepancy in structures reflects the dialectics of Beethoven’s sonata form; in the “dispute” of different principles, the dynamism of the form and its perception are born, since while listening, we notice this discrepancy.
So, in the exposition of the first movement of the sonata, contrasting elements are contrasted only at the level of the thematic core and the theme of the main part as a whole. The remaining stages of movement at the exposure level only use the result of these contrasting oppositions. This is where Beethoven's dramatic effectiveness clearly manifests itself.
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EXHIBITION OF THE I PART OF SONATA No. 17 BY L. VAN BEETHOVEN |
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Tonal plan |
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Thematic series, letter |
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Scale series |
Summation |
splitting up |
summation |
Summation and crushing with closure |
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Structural series, shape definition |
Period of 2 sentences, re-construction, Period with deviations. The half cadence ends with D and the final cadence with t. A period with expansion by adding a recitative at the end. |
Developmental type construction based on elements of G.P. |
Period from 3 sentences of repeated construction, monotonal The 2nd cadence ends with t, and the final one with t6. |
Period with additions. Single tone. There are Phrygian phrases. The half cadence ends with t, and the final one with D to the root key. |
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Functional range |
Presentation of the 1st topic G.P. exposure |
1st topic (G.P.) Expo connecting section |
Presentation P.P. exposure |
The final section of the exhibition |
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Final Form Definition |
The exposition of the first movement of Sonata No. 17 by L. V. Beethoven was written according to the laws of the sonata form of Viennese classicism. G.P. - written in period form. It sets out the main theme, which consists of 2 elements. The connecting section is built on the elements of G.P.. P.P. - written in the form of a period of 3 sentences - carrying out a new (2nd) topic, which represents a new version of the development of elements of the main party. The final section is similar to period form with additions in the dominant key |
Form diagram 1. 2 Exposition of the first movement of the sonata op. 31 No. 2 (No. 17)
The development is based on the first motive of the main party and the dialogizing connecting party. At the end of development, the dominant precursor. The development can be divided into three sections. The first (bars 93-98) introduces the fanfare element of the main theme. It is carried out three times (D6, dis um6, Fis6), providing colorful comparisons with the transition to the fis-minor key of the second section. The first section takes 6 measures - they include 3 phrases of 2 measures, built according to the type of periodicity. However, the forces of contrast contained in the core of the main party continue to be felt. At the beginning of the development, a polarization of contrast occurs: the three quiet arpeggios of the first element (their tonal-harmonic positions extremely expand the scope of further development) are answered by the theme of the connecting part - the most dramatically active element of the exposition, which here, thanks to a higher compositional level, reaches its utmost intensity. The second section (bars 99-120) continues the development of the connecting section of the exposition, actually repeating it in a more dramatic form in fis-moll and leading to a climax in bars 119-120. The section takes 22 bars and consists of two sentences and 6 phrases and is structured according to the type of fragmentation. The third section (bars 121-142) is a precursor to the start of the reprise, based on dominant harmony to D minor and swirling intonations that create the effect of slowing down movement. The development ends with a series of chords on the dominant bass, outlining the upper tetrachord of the harmonic d-minor, and a descending octave monologue, anticipating the recitative of the main part in the reprise.
So, the second section of part I of the seventeenth sonata by L. van Beethoven is of a developmental nature. It is based on the development of the first element of the main party and the connecting section of the exhibition. It ends with a prelude to a reprise on the dominant function of the main key. The development of the first part of the seventeenth sonata by L. van Beethoven is an example of the existence of a form of a moving period (sentence), but it turns into the free development of the development type itself. This applies to the greatest extent to developments of dramatic content, unfolding from large constructions to small ones and receiving generalization in a bright melodic form. This reduction in structural elements plays an inhibitory role, being located at the pre-reprise organ point.
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DEVELOPMENT OF THE I MOVEMENT OF SONATA No. 17 BY L. VAN BEETHOVEN |
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Tonal plan |
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Thematic series, letter |
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Scale series |
periodicity |
splitting up |
summation |
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Structural series, definition of shape |
The structure is introductory in nature, based on the theme of G.P. |
The construction continues the development of the connecting section of the exhibition. Form is like a period. |
Building a developing character |
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Functional range |
Varied presentation of the 1st element of G.P. introduction |
Development of the connecting theme of the exhibition |
Prelude to reprise |
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Final Form Definition |
The development of the 17th sonata by L. V. Beethoven is of a developmental nature. Based on the development of the first element of the G.P. and the connecting section. It ends with a prelude to a reprise on the dominant function of the main key. |
Form diagram 2. 2 Development of the first movement of the sonata op. 31 No. 2 (No. 17)
Reprise. All themes in it are modified, especially the main part, to which new elements are added: two expressive lyrical and psychological recitatives, presented monophonically, as if speaking in the first person. Hence the name of the sonata - “sonata with recitative”. The side part and others are already set out in the main key of d-minor with deviations. The main part and the connecting section in the reprise are carried out with changes. These sections are the culmination zone of the form. The recitative in the reprise as an element of the end-to-end dramatic action in the zone of the main part also leads to a renewal of the connective tissue. Only the side and final parts are given in accordance with the norms of sonata form, due to which the overall movement is leveled out.
In the main part (bars 143 to 149), the main emphasis is on the dramatic recitative, which is an extension of the first element (arpeggiated sixth chord) of the main part of the exposition. The main part is written in the key of D minor and in period form. The period is 16 clock cycles. The first sentence increases to 10 bars. Of these, 6 bars are a long phrase, then 4 bars are the next phrase with a half cadence on the dominant. The second sentence consists of only one phrase (6 bars), which breaks off at the recitative, going straight to the ostinato chords of the connecting section. There is no final cadence. The period has a crushing type with closure. The period is monotonal, repeated structure, since both sentences begin the same way, only with different sounds.
The connecting section (from bars 150 to 170) is shortened to 12 bars and new material is introduced into it, maintaining a distant connection with the first (fanfare) and third (chord) elements of the main part. The entire section is structured as a dialogue in two-beats of these transformed intonations with the structure (4 + 4 + 4) - a type of periodicity. The first element, which was characterized by an upward movement along the chord sounds, here becomes stormy waves of arpeggios across the entire range. From the connecting section of the exposition, only the triplet rhythm is retained in the reprise, but even on the last beat it changes to faster durations (sixteenth notes or sextuplets). The third element, marching chord sounds, appears in its extreme quality - in the form of a smooth, ostinato repetition of four chords in a low register. This is the culminating section of the form, where the destruction of the main (personal) thematism occurs, its disappearance, and the remaining elements acquire the maximum degree of generalization and impersonality. Tonally, the movement goes through fis-moll, G-Dur and two diminished chords leading to a side part in the main key.
The side part (from bars 171 to 184) is carried out in the main key (d-minor) with virtually no changes. The side game has the form of a period of 3 clauses (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The signs of such a period are that it has 3 cadences distant from each other. The first two sentences consist of two motives of 1 measure and a phrase of 2 measures. The third sentence consists of 2 motives of 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins the same way only with different sounds. The period is single tone. Has no modulations or deviations. The 1st and 2nd cadences end on the tonic, and the final cadence ends on the tonic sixth chord. The harmony is simple, consisting of the tonic of the dominant (to a greater extent), set out in melodic figuration around the V degree, with the inclusion of the sounds of the seventh and none.
The final section (from measures 185 to 228) is also carried out practically unchanged. A few bars are added only at the end - these are wave figurations on the tonic triad in the bass against the background of a sustained tonic sixth chord, as if concentrating the first element of the main part in the main key. It is written in the key of D minor in period form with additions. Has a scale of 44 clock cycles. Consists of 4 sentences. The first sentence is 8 bars, consists of 2 motives of two bars and a phrase of 4 bars. Ends with a half cadence on a tonic triad. Built on the alternation of the tonic A minor sixth chord and the Neapolitan sixth chord. The second sentence has a size of 6 bars, consists of three phrases of 2 bars each. In the next sentence, this figure is clearly manifested in a descending movement of parallel thirds, reminiscent of the main part. The size is 6 bars, consists of 6 motives of 1 bar each. The fourth sentence is 22 bars, consists of 4 motives of 2 bars each and a large phrase of 16 bars. Here development slows down. The period of non-repetitive construction, because each sentence has its own new topic, not similar to the previous one. Single tone. The final cadence ends on the tonic of the main key. The coda is replaced by a long-held tonic harmony: since it was almost silent throughout the Allegro, its impact is especially significant. It concentratedly reflects everything that happens in the first part and hears the answer to all the questions that arose in Allegro, the answer is deep, not reducible to any unambiguous formula.
As a result, we can say that the reprise of the seventeenth sonata by L. van Beethoven has a main part, which is modified, introducing a recitative to the first element, written in period form. The connecting section, which is built on new material, only slightly resembles elements of the main part and the side part. The side part is repeated unchanged and is written in the form of a 3-sentence period. The final section is also carried out unchanged, only with the addition of a few bars at the end, which replace the coda and are built on the tonic and tonic sixth chord. Written in period form with additions.
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REPRISE OF THE I MOVEMENT OF SONATA No. 17 BY L. VAN BEETHOVEN |
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Tonal plan |
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Thematic cue row or letter |
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Crushing with closure |
periodicity |
Summirova |
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Structures ny series, certain forming |
Period of two sentences leniya, monochromatic, repeated structure. The half cadence ends in D and concludes there is no cadence |
developmental nature |
Period from 3 proposals for re-building. Monotonal 2nd cadence ends Xia on t, and the final cadence ends |
Period with additions. Monotonal ny. Phrygian phrases are present. The half cadence ends with t, and the conclusion This cadence ends on t. |
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nal row |
Repeat of G.P. exposition with speciesism 1st element G.P. reprises |
New material resembling This section of the reprise |
Repeat without changes P.P. exposure P.P. reprises |
Construction of the conclusion character. |
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Final determination forming |
The reprise of the first part of the 17th sonata by L. V. Beethoven has a G. P., which is modified by introducing a recitative to the first element (hence one of the names of the sonata “sonata with recitative”). It has the form of a two-sentence period. The connecting section, which is built on new material, only slightly resembles the elements of G.P.. The side part is repeated without changes and has the form of a period of 3 sentences. The final section is also carried out unchanged, only with the addition of a few bars at the end, built on t and t6. It has the form of a period with additions. At the end, a coda is added, which sounds on a tonic triad. |
Form diagram 3. 2 Reprise of the first movement of the sonata op. 31 No. 2 (No. 17)
As a result of the analysis, we can conclude that in the reprise and exposition there are significant changes, primarily in the sphere of the main party, but also stable elements in the sphere of the connecting and secondary parties. In the sonata allegro of the seventeenth sonata there are only three complete cadences - the end of the main part (at the level of exposition), the exposition (at the level of the form as a whole), and the entire sonata form (at the level of the sonata cycle). In other words, only the initial expositional sections of each of the three levels are clearly completed; the remaining facets of the form are blurred by the continuity of development, the source of which is dramatic effectiveness. But in this case, the implementation of this principle is combined with another important shaping trend. This continuous flow of musical movement in the absence of contrasting oppositions outside the main part reveals the principle of self-motion, which played a leading role in J. S. Bach and many other composers of the Baroque era and became the most important shaping factor in the late period of L. van Beethoven’s work. The first part of L. van Beethoven's sonata No. 17 has a high degree of theatricality, a bright, dramatic development of the main intonations. This is achieved thanks to the end-to-end development of intonations and the dialogic nature of their combination with each other. When L. van Beethoven was asked what his music was about, he replied: “Re-read “The Tempest” by W. Shakespeare.”
Second part. Adagio. B major, sonata form without development. Like the first movement, it begins with arpeggiato. The main theme uses the technique of dialogue-roll call. This part - one of two examples of sonata form without development in the group of works being analyzed - already from the second sentence of the main theme suggests the possibility of variation, and this is realized in the reprise. The reprise as a whole also appears as a reprise-variation. Thus, the form of a sonata without development is subject to the basic principle of variation. In the secondary theme of the Adagio, with its support on the fifth and the singing of the III degree from below and I and VI from above, Russian intonations are heard. The second movement from the seventeenth sonata follows the general principle of Beethoven's slow movements in the sense of carrying out the main theme in the coda (89 - 98 bars). In invisible ways, a connection is made with the side part of the first part, full of aching melancholy and plaintiveness.
The third part. Allegretto. d-moll. Sonata form based on figurative and musical thematic unity. A new version of the development of the main thematic intonations, closeness to the genre of prelude. In the finale of the seventeenth sonata, the unity of movement of the main and secondary parts is facilitated by the fact that the latter begins on the dominant from the dominant, demonstrating its aspiration forward, towards the cadence of the exposition. Fluidity is a technique that extends, of course, to the entire finale. It is necessary to highlight a very important structural feature - the implementation of the main theme in the code, as a final factor. It creates an inclination towards the rondo form, already encountered in its various manifestations. If the inclination towards sonata form is formed at the beginning of the form, in its expositional section, then the inclination towards rondo in works with sonata form is noticed towards the end, after the sonata structure has been determined: exposition - development - reprise. The final presentation of the main theme has a rounding effect in this case. But this, apparently, also reflects the connection with the long tradition of writing finales in the form and even in the rondo genre. It was precisely this that L. van Beethoven himself often followed, especially in the early period of his creativity. This tradition obviously left its mark on the sonata finales.
The inclination towards a rondo intensifies if the main theme, while maintaining the structure (in whole or in part), is also carried out in development - then a total of 4 arrangements are formed, clearly showing the rondo-like nature of the sonata form. The finale of the seventeenth sonata also provides an example of carrying out the main theme in a coda. It is curious that the presentation of the main theme in the code completely coincides with the expositional one, while the reprise differs from it. It is important to emphasize the similarity of the extreme holding: they border the form, thereby recalling the principle of dacapo, found in various ancient forms.
Typical features of the classical sonata form:
The exposition mainly consists of tonic-dominant turns. The subdominant often appears only in cadence (since it can undermine the dominance of the tonic); deviations are rare.
The main part determines the main content of the musical form. It, like the grain of the entire work, in most cases is carried out without major changes: it is in the exhibition for the first time and develops in development. The main part always ends in the main key, with a cadence on the tonic or dominant.
The connecting party is a transitional section. It involves gradual intonation preparation for the secondary part.
The form of the side party is free and allows for many variations. However, it should be noted that under the influence of relative harmonic freedom, these forms are often deprived of their squareness due to additions, extensions, etc. There is often a rhythmic renewal of the secondary part. Characterized by longer durations and slower movement. Activation of movement and shorter durations are less common.
The final part should harmoniously consolidate the new key. Often there is multiple repetition of a cadence turn or the presence of a tonic organ point.
Development is a big move between extremes (exposition and recapitulation). During the development process, modulations occur in different keys. The path of these modulations, like many other development qualities, is not regulated. There are two main types of tonal movement possible. If the development began in the key of the end of the exposition (or in the key of the same name) - gradual modulations into increasingly distant ones from the original key and at the end of development a return to the main key.
The reprise, the third major section of the sonata form, reduces the tonal differences of the exposition to unity (the side and final parts this time are presented in the main key or approaching it). Since the connecting part must lead to a new key, it usually undergoes some kind of reworking.
Code - an additional section of the form. Its function is to summarize the material, approve the result, the “conclusion” of the entire work.
Individual features of the sonata form of the sonata op. 31 No. 2 (No. 17) :
The main part of the exhibition is built on two elements (like question and answer). The main emphasis is on the dramatic recitative (for the first time in music, Beethoven uses it in the thematic theme of the main part), which is an extension of the first element (the arpeggiated sixth chord). The second element consists of only one phrase (6 bars), which breaks off at the recitative, moving immediately to the ostinato chords of the connecting section. There is no final cadence. In the main part of the exposition of the seventeenth sonata there is a deviation from the main key to the parallel key F-dur. The main part is written in period form. The main key is d minor.
The connecting section is built on the elements of the main party. Written in the key of d minor with modulation in a minor. The theme of the connecting part is clearly individual, but has a tonational relationship with the main part.
The theme of the side part unfolds in short, excited chants and at an allegro tempo. The implementation of its second new theme represents a new version of the development of elements of the main party. It has the form of a period of 3 clauses (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). Written in the key of A minor.
The final cadence ends on D to the main key. In this section, against the background of swirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeatedly drawn descending Phrygian revolution from the note E. The same turn in octave unison completes the exposition. The final part is written in the key of A minor and has the form of a period with additions.
The development is based on the development of the first element of the main party and the connecting section. The tonal movement of the development of the first movement of sonata No. 17 is presented in such a way that if the development began in a distant key by comparison, then there is a gradual return to the main key. It ends with a prelude to a reprise on the dominant function of the main key.
The reprise has a modified main part - a recitative to the first element is introduced. The connecting part only slightly resembles the elements of the main part - it is built on new material. The side and final games are carried out practically unchanged. The main key is d-minor with deviations.
The coda is replaced by a long-held tonic harmony: since it was almost silent throughout the Allegro, its impact is especially significant.
The individuality of this sonata is emphasized primarily by the unique, brightly expressive, inimitable, thematic appearance of each of its sections.
In this sonata, a new, not too long-lasting stage in the development of Beethoven’s creative nature makes itself felt. Moving to Vienna, social success, growing fame as a virtuoso pianist, numerous but superficial, fleeting love interests.
Mental contradictions are obvious. Should we submit to the demands of the public, the world, should we find the way to satisfy them as faithfully as possible, or should we go our own, hard, difficult, but heroic path? There comes, of course, a third moment - the lively, mobile emotionality of youth, the ability to easily, responsively surrender to everything that attracts with its brilliance and radiance.
Researchers have more than once tended to note the “concessions,” the external virtuosity of this and subsequent Beethoven piano sonatas.
Indeed, there are concessions, they are felt from the first bars, the light humor of which matches Joseph Haydn. There are many virtuoso figures in the sonata; some of them (for example, leaps, small scale technique, quick plucking of broken octaves) look both into the past and into 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.
First part the sonatas (Allegro vivace, A-dur) are notable for the growing richness of the thematic composition and the scale of development.
Following the sly, mischievous, “Haydnian” beginning of the main part (perhaps there is some irony in it at the address of “Papa Haydn”), there follows a series of clearly rhythmic and brightly pianistically colored cadences (with Beethoven’s favorite accents on the reference points). This fun rhythm game invites mindless joy. The brilliant play of cadences is contrasted in a side game with languor - almost of a romantic nature. It is anticipated in the transition to the side part, marked by sighs of eighth notes alternating between the right and left hands. When the rhythmic background of the tremolo sixteenth notes in the left hand enters (m. 58, etc.), the sighs of the right hand become anxious, passionately impetuous and pleading. Chromatics of an excitedly rising melodic line, syncopation, harmony - right up to the seventh chord, beloved by romantics, of two minor and one major third (later immensely exploited by Wagner in the opera Tristan and Isolde)- everything sounds so new here, so fresh! The cadences of the main party were fractional, the development of the side party was continuous:
But, having reached the climax and interrupted the growth of romantic languor with loud exclamations and their quiet echoes, Beethoven again plunges into the stream of cheerfulness, brilliant fun of the final part. Here the decisive cadences are contrasted in exceptional relief with the chromatic yearnings of the secondary part. The nature of the entire image is also revealed. You cannot indulge in the pleasures of life with impunity - a thirst for depth and passionate feeling awakens in your soul; and, at the same time, suffering and dissatisfaction are born. Life again beckons with its seductions, and the will quickly copes with dreams of true happiness.
However, this is not the end yet. In development (where Lenz rightly found “symphonic development”) a new element appears - heroic, fanfare. The fact that it (borrowed from the first element of the main part and transformed) is given against the tremulous background of sixteenth notes from the side part is one of the manifestations of Beethoven’s harmonious logic. A path is outlined to overcome the anxieties and sorrows of personal life through the heroism of struggle, labor, and feat.
The heroic principle appears further in the development, where the second element of the main party, which is initially passive, is developed by sequential roll calls and sounds like orders of the will. The calm on the dominant before the reprise is Beethoven's original use of the classical organ point, with the aim of creating a break, a caesura of form and, at the same time, arousing a feeling of thirst for a return to the original images.
The reprise does not contain significantly new elements, and we will not dwell on it specifically. Let us only note the deeply meaningful ending of both expositions and reprises with lulls and pauses (Beethoven later loved such endings). The essence is in the emphasized unresolvedness, in, so to speak, the interrogative results of the development of images. Such an ending exacerbates the existing contradictions and especially firmly captures the listener’s attention.
In second part the sonata (Largo appassionato, D major) has more purely Beethovenian features than in the slow movement of the previous sonata.
It is impossible not to notice the density and richness of the texture, moments of rhythmic activity (by the way, the rhythmic background of the eighth notes “solders” the whole together), clearly expressed melodiousness, and the dominance of legato. It is no coincidence, of course, that the most melodious, middle register of the piano predominates (the last conduction of the theme - as if by woodwind - sounds like a bright contrast). Sincerity, warmth, richness of experience - these are very characteristic, predominant features of the images of Largo appassionato. And these are new features, which were not to a similar extent in the piano work of either Haydn or Mozart. A. Rubinstein was right, of course, when he found here “a new world of creativity and sonority.” Let us recall that A.I. Kuprin chose this Largo as the epigraph of his story “The Garnet Bracelet”, a symbol of Zheltkov’s “great love” for Vera Nikolaevna.
The richness of Largo's emotional branches and nuances is remarkable. The main theme with its concentrated chorality (an early example of purely Beethovenian wise contemplation) serves as the core. And around this core are wrapped the light sadness of the “violin” (then “cello”) intonations of affectionate speech (from t. 19) and the drama of the minor theme (from t. 58).
Romain Rolland rightly noted the special importance of the slow movements of Beethoven's sonatas. Criticizing the professional formalists of his time, Romain Rolland wrote: “Our musical era, more interested in structure than in feeling, attaches less importance to the adagio or andante than to the first allegro of classical sonatas and symphonies. In Beethoven's era things were different; and the German public at the turn of the 18th and 19th centuries. greedily quenched her thirst in the streams of "homesickness", Sehnsucht, tenderness, hope and melancholy, which flow in Beethoven's adagio, as well as in the songs of the same period (1795-1796) from Wilhelm Meister.
Largo appassionato from the second sonata is an example of the construction of Beethoven's slow sonata movement, already developed in the figurative and ideological sense. In the tendencies of such parts - to look at the world as if from the inside, from the side of moral norms - one can catch echoes of the philosophical and religious trends of the era (indicative, in this regard, is the last implementation of the Largo theme, as if cleared of “carnality”). But the fact of the matter is that Beethoven only occasionally, and then indirectly, touches on the religious sphere. For him, the real life content of the persistent thoughts of the people of his time prevails over ethical problems, problems of improving the personality, which, delving into itself, finds the strength to master passions and subordinate them to higher moral tasks. In Largo there is both struggle and overcoming. Lenz, who found here “a whole little oratorio,” was right in his own way.
The contrast introduced by the subsequent scherzo (Allegretto, A major) is great. The appearance of the scherzo (instead of the minuet) indicates innovation. Its essence is the need to enliven the sonata whole with an element of joke, humor, genre. In the scherzo of the second sonata, the gallant “squats” of the first theme are transformed by rough spontaneity and straightforwardness. And in the trio there is melodiousness again.
IN final sonatas (Rondo, Grazioso, A major) Beethoven significantly chose a rondo structure with three main themes (and a final conduction of the first theme); He later especially willingly used this structure in his finales, as the most capacious, flexible and, at the same time, different from the sonata allegro.
Lenz wrote mocking words about the supposedly excessive length and banality of the music of this rondo.
On the contrary, A. Rubinstein saw in the finale of the second sonata the novelty of ideas and technique, the charm of grace.
We think that the great drop in tension and the dominance of the elegantly superficial in the finale are the result not of a mistake or failure, but of Beethoven’s conscious intention, generated by the youthful enthusiasm and cunning of the composer’s thoughts.
Having shown in the first and second parts the richness and exactingness of his emotional world, his ethical ideas, Beethoven now seems to hide all this under the cover of secular splendor and salon grace. True, in the finale, Beethoven’s individuality makes itself felt - in the precision of the rhythm, in the temperament of the accents, in some fanfare intonations of minor fragments, in the fresh, strong, tonal, rhythmic and textural developments before the last appearance of the initial theme. But the sharp corners, after all, only show through and do not catch the eye. The young lion seemed to have tamed himself, to forget his wildness and independence. What a humble, polite cadence ends the rondo, and with it the entire sonata!
But let's not be deceived! Even if Beethoven was sincerely carried away by the “seductions of the world.” This is fleeting, as we know from many facts in the biography of the great musician. Under the cover of passing hobbies there remains a man of deep feelings, incorruptible will and enormous ethical demands. In his heart, he is apparently already ironic at his own weaknesses and at the gullibility of secular listeners, ironic and preparing for new creative exploits.
All music quotations are given according to the edition: Beethoven. Sonatas for piano. M., Muzgiz, 1946 (edited by F. Lamond), in two volumes. The numbering of bars is also given according to this edition.
