Music analysis. Some features of Beethoven Gaow's piano sonatas vpo "Moscow State Regional
STRUCTURAL ANALYSIS OF L. BEETHOVEN'S TWENTY PIANO SONATA
Beethoven's Twentieth Piano Sonata (op. 49Nr... 2), which has become the subject of our analysis, is one of the bright, sunny pages of the music of the great German master. It is notable for its relative ease of perception, but at the same time it contains bold decisions in the field of form, the most interesting composer finds.
Sonata No. 20 is distinguished by a small length of parts, a very small development in the sonataallegro the first part, the "lightness" of the texture, the general joyful and elated mood. Usually all of the above features are attributes of "sonatinity". But the scale, significance of the music we are examining, its aesthetic depth indicate the "serious" origin of the sonata.
L. Beethoven is a brilliant innovator, a real 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. So, in the twentieth piano sonata there are only two parts - the sonataAllegro and Minuet.
In this work, L. Beethoven limits his composer's thinking to a rather stingy, economical use of musical expressive means, which formally fit into the framework of classicism. There are no bright thematic, dynamic, tempo and register contrasts characteristic of Beethoven's style (as, for example, in "Aurora"). But there are elements of theatricality, in the sonataallegro - intonations of "fanfare" and "sighs".
Nevertheless, in the perfection of the architectonics of the sonata form, in the virtuoso ability to develop, compare and produce one of the other themes, the creative style of L. Beethoven is guessed.
The tonality of both parts isG- dur, the character is cheerful. The intonation connections between the parts are found. Let's point out some of them:
Moves according to the sounds of the triad (the beginning of the G.p. of the first movement, the cadence zones of the proposals of the first period of the Minuet, its trio)
Chromatic movement (second section of St. n. Of the first movement, final cadence of the first period of the Minuet);
Gamma-like movement (Z. of the first movement of the sonataallegro, an episode of the first part of a complex three-part form (serving as the first part of a complex three-part form (!) Minuet).
Let us dwell in more detail on each of the parts 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 reprisal repetition. Let us note that L. Beethoven already in the early sonatas "canceled" the repetition of the development and reprise.
The exposition takes 52 measures. In it, the places of "increased semantic tension" (in G. p., P. p.) Are interspersed with general forms of movement (in St. p., Z. P.). Joyful emotions dominate in various gradations: vigorous, decisive, affirming, as well as gentle and affectionate.
G. p. occupies the first sentence of the exposition period (1-4 vols.). One could erroneously assume that G. p. has the form of a period ("classical" type) and ends in bar 8, followed by St. But, first of all, 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, modulation into a subdominant is performed. And modulation is a sign of St.Petersburg, and by no means a G.P., the tonal-harmonic function of which is to show the main key, its consolidation.
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 singing phrases of the upper voice have an upward direction followed by "rounding" interspersed with melismatics. There is “warm” harmonic support in the lower back. For a moment, there is a deviation into the subdominant in order to set off the main tonality.
In St. p. three sections. The first section (5-8 vols.) Is built on the varied material of the G.p., set out an octave above. In the lower voice, movement appears in eighth durations (on a weak eighth, the fifth step is repeated for two measures).
The second section of St. (9-15 vols.) Is given on new material. Graceful chromaticisms (auxiliary and passing tones) appear in it. The sequential downward movement of phrases with "female" endings is replaced by a gamma-like sequence of sounds.
Harmonious development leads toD-> D, after which the third section of St. (15-20). Its goal is to "prepare the ground" for the item, to bring the dominant to the tonality. The third section of St. is given on the organ point that is dominant (in relation to the main key of the sonata) (the lower tone of the figurations in the triplet rhythm in the left hand). In the right hand, playful motifs based on chord sounds (authentic turns). There is a feeling of some kind of game.
After stopping at the dominant (in relation to the main key), P. (D- dur, 21-36 vols.). Form P. p. - a double period of two complex sentences of repeated structure (square, one-tone). In the motives of her first phrases, the derivation from the second element of G.p. - second intonationslamento onpiano , the predominance of an upward movement. Accompanied by an analogy with the movement of eighth durations in the first section of St. Further in P. there are two graceful phrases in high register, followed by thirds "squats" in the accompaniment. In the half cadence, the second sighs, interrupted by pauses (rhythmic similarity to 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 even movement in eighth durations.
Z. p. (36-52 vols.) Begins with an invading cadence. It can be divided into two sections. The first section of Z. (36-49) is built on cadence in the key of the dominant. In the triplet rhythm, the scale-like sequences "fly apart" in octaves, stopping at rehearsals of one tone, accompanied by figurations in the left hand.
The second section of Z. on the organ point, the tonality of the dominant is fixed. Musical material is similar to section 3 of St.
The development (53-66 vols.) Introduces into the minor sphere (the effect of chiaroscuro). Consists of two sections. In the first section (vols. 53-59), the elements of the G. p. (tonal transposition, variation). Development begins with the tonic of the same-named key (in relation to the key in which the exposition ended;d- moll). In the process of harmonious development,a- moll ande- 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 prediction - is given in a parallel key (in relation to the main key of the sonata;e- moll). Intonationlamento in the upper register, interrupted by pauses, they are sequenced, accompanied by pulsation of eighth durations at the dominant organ point. At the end of the development, the dominant of the main tonality appears, the downward movement of the eighth notes "crashes" into the reprise.
G. p. (67-70 vols.) In the reprise (67-122 vols.) Passes unchanged.
At the end of the first section of St. (71-75 vols.) Modulation is performed in the key of the subdominant.
The second section of St. (71-82 vols.) Completely revised. In terms of material, it is similar (in its first four measures even identical, taking into account the tonal transposition) to the first section of the Z.p. At the end of it, there is a deviation into the tonality of the sixth degree.
The third section of St. (82-87 vols.) Does not contain changes, not even transposition! This is an interesting decision of L. Beethoven - to build the third section of St. in such a way that it is suitable both for further establishing the dominant sphere, and for remaining in the basic key.
The secondary part in the reprise (88-103 vols.) Sounds unchanged (apart from tonal transposition).
The first section of Z. (103-116 vols.) Contains a slight variation during the deviation inVI step.
The second section of Z. (116-122 vols.) Expanded by additional sequencing. The goal is the final approval of the main toneG- dur.
At the end of the reprise, two abrupt chords (D 7 - T).
The 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. Dancing is combined in the minuet with subtle melodious melodism.
The form of the second movement of the sonata is a complex three-part (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 simple three-part. There is a code.
The first part of a complex three-part form (exposition, 1-68 vols.), Which itself is also the first part of a complex three-part form, is written in a simple three-part form (1-20 vols.). Its first part (1-8 vols.) Is a one-tone square period of two sentences of repeated construction. The melodic line of the period is very graceful, contains a dotted rhythm (like squats), the scale-thematic structure of both sentences is summation. The theme is predominantly diatonic, only in the final cadet appears "flirtatious"IV. In the accompaniment, pulsation of eighth durations over chord sounds.
The second part of a simple three-part form (9-12 volumes) develops the thematic elements of the first part. AffectedIV andIII steps.
After the half cadence, there is a reprise of a simple three-part form (13-20 vols.). The melodic line varied in the zone of the final cadence 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-repertoire form, but the material of the parts is too heterogeneous.
The first section (21-28 vols.) Is in the form of a square modulating tonalityIIdur steps (A- dur) a period of two sentences of re-construction. The first section begins in the main key. Tertz moves in the high register are accompanied by an ascending scale-like movement in the lower voice; in the second sentence, the voices change places.
The second section (28-36 vols.) Runs in the tonality of the dominant. An atmosphere of carefree fun reigns here. You can hear a folk tune in the music. The playful, unpretentious melody is accompanied by alberti bass on the dominant organ point (the organ point is removed only in front of the bunch).
The purpose of the bundle (36-47 vols.) Is a smooth translation into a reprise of a complex three-part form. In conjunction, the motivational development of the first section of the trio turns into cadence on the dominant organ point to the main key.
A reprise of a complex three-part form, accurate (48-67 vols.).
The second part of the complex three-part form of the minuet is a trio (68-87 vols.). It is harmoniously open. Starts inC- dur... Developing as a period of two sentences of repeated construction, it contains a link to the reprise. The topic is polymotive. "Fanfare" against the background of the octave moves of the accompaniment alternate with the ascending sequencing of the canable phrases.
After the link, where the modulation into the main key is performed, a reprise and a coda of a complex three-part form follow (88-107 vols., 108-120 vols.). The reprise is shortened. All that remains is an exact repetition of the exposure (the first part) of a complex three-part form.
Code on the exposition material. It contains motivational development, deviations in the subdominant sphere. Ends with the 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 a complex three-part form (1-20 vols.) Can be considered as a refrain. The second part of a complex three-part form (which itself is the first part of a complex three-part form), therefore, will act as the first episode (21-47 vols.). And the "C major" trio (68-87 vols.) Will be the second episode.
The structural analysis of the Twentieth Piano Sonata allows one to get closer to understanding the logic of Beethoven's composer's thinking, 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-part sonata op. 49Nr... 2 L. Beethoven is unusually inspired and poetic, as if covered with warmth and warmed by the radiant sun.
List of references
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. "Doe", M., 2001
In this sonata, a new, not too long stage in the development of Beethoven's creative nature makes itself felt. Moving to Vienna, secular successes, the growing fame of the virtuoso pianist, numerous, but superficial, transient love interests.
Mental contradictions are obvious. Should one submit to the demands of the public, the world, find the path to their maximum satisfaction, or go one's own, difficult, difficult, but heroic way? Of course, the third moment comes - the lively, mobile emotionality of young years, the ability to easily, responsively surrender to everything that attracts with its brilliance and radiance.
Researchers have often been inclined to note the "concessions", the external virtuosity of this and subsequent Beethoven's piano sonatas.
Indeed, there are concessions, they are felt from the very first bars, the light humor of which matches Joseph Haydn. There are many virtuoso figures in the sonata; some of them (for example, horse races, small scale techniques, fast iterations of broken octaves) look both to the past and to the future (reminding Scarlatti, Clementi, but also Hummel, Weber).
However, listening intently, we notice that the content of Beethoven's individuality has been preserved, moreover, it is developing, moving forward.
First part sonatas (Allegro vivace, A-dur) are notable for the growing richness of the thematic composition, the scale of the development.
Following the crafty, mischievous, “Haydn’s” opening of the main part (perhaps there is some irony in it at the address of “Haydn’s daddy”), there follows a series of clearly rhythmic and brightly pianistically colored cadences (with Beethoven's favorite accents on the pivot points). This fun rhythmic game calls for mindless joys. The brilliant play of cadances is contrasted in the side game with longing - already of an almost romantic nature. It is anticipated in the transition to the side game, marked by sighs of eighths, alternating between the right and left hands. When the rhythmic background of the tremolo of the sixteenths in the left hand (vol. 58, etc.) enters, the sighs of the right hand become alarming, passionately impulsive and pleading. Chromatisms of an excitedly rising melodic line, syncope, harmony - up to the favorite seventh chord of two minor and one major third (later exploited immensely by Wagner in the opera Tristan and Isolde) - everything here sounds so new, so fresh! The cadances of the main party were fractional, the development of the side party was continuous:
But, reaching the climax and cutting off the growth of romantic languor with loud exclamations and their quiet echoes, Beethoven again plunges into the stream of cheerfulness, the brilliant fun of the final game. Here the decisive cadances are exceptionally vividly contrasted with the chromatic languor of the side party. The nature of the whole image is also being clarified. One cannot surrender to the joys of life with impunity - a thirst for depth, passionate feelings awakens in the soul; and, at the same time, suffering, dissatisfaction is born. Life again beckons with its seductions, and the will quickly copes with dreams of true happiness.
However, this is not the end. In development (where Lenz rightly found "symphonic development") a new element appears - heroic, fanfare. The fact that he (borrowed from the first element of the main part and transformed) is presented against the tremolating background of the sixteenths from the secondary part - one of the manifestations of Beethoven's harmonious logic. A way is outlined to overcome the anxieties and sorrows of personal life in the heroics of struggle, labor, and achievement.
The heroic beginning appears in development and further, where the second element of the main party is developed by sequential roll calls and sounds like orders of the will of such a "thoughtless", passive at first. The lull on the dominant before the reprise is Beethoven's original use of the classical organ point, with the aim of creating a fracture, a caesura of form and, at the same time, arousing a feeling of thirst for the return of the original images.
The reprise does not contain essentially new elements, and we will not dwell on it specially. Let us only note the deeply meaningful ending of both the exposition and the recapitulation with lulls and pauses (Beethoven later loved such ends). The bottom line is the emphasized lack of resolution, in, so to speak, interrogative results of the development of images. Such an ending aggravates the existing contradictions and attracts the listener's attention especially firmly.
In second part sonata (Largo appassionato, D major) more purely Beethoven features than in the slow movement of the previous sonata.
One cannot fail 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), clearly expressed melodiousness, the dominance of legato. It is no coincidence, of course, that the most melodious, middle register of the piano predominates (the last performance of the theme - as if with woodwind - sounds like a light contrast). Sincerity, warmth, richness of experience - these are the very characteristic, prevailing features of the Largo appassionato images. And these are new features, which, to a similar extent, were not in the piano work of either Haydn or Mozart. A. Rubinstein, of course, was right, finding here "a new world of creativity and sonority." Let us recall that A. I. Kuprin chose this Largo as the epigraph of his story "Pomegranate Bracelet", a symbol of Zheltkov's "great love" for Vera Nikolaevna.
The richness of the emotional branches and shades of Largo is remarkable. The main theme, with its concentrated chorality (an early example of purely Beethoven's wise contemplation), serves as a pivot. And around this core are twisted the light sadness of the "violin" (then "cello") intonations of gentle speech (p. 19) and the drama of the minor theme (p. 58).
Romain Rolland rightly noted the special importance of the slow movements of Beethoven's sonatas. Criticizing contemporary formalist professionals, Romain Rolland wrote: “Our musical era, more interested in construction than feeling, attaches less importance to adagio or andante than the first allegro of classical sonatas and symphonies. In the Beethoven era, the situation was different; and the German public at the turn of the 18th and 19th centuries. eagerly quenched her thirst in the streams of "homesickness", Sehnsucht, tenderness, hope and melancholy that 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 Beethoven's construction of the 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, the last, as it were, purged of "fleshly" theme of Largo). But the fact of the matter is that Beethoven only at times, and then indirectly, touches the religious sphere. He is dominated by the real life content of the persistent thoughts of people of his time over the ethical problems, the problems of improving the personality, which, delving into itself, finds the strength to master the passions, to subordinate them to the highest moral tasks. In Largo, there is both struggle and overcoming. Lenz, who found "a whole little oratorio" here, was right in his own way.
The contrast introduced by the subsequent scherzo (Аllegretto, A-dur) is great. The appearance of the scherzo (instead of the minuet) is indicative of innovation. Its essence lies in the need to revive the whole sonata with an element of joke, humor, and genre. In the scherzo of the second sonata, the gallant "squats" of the first theme are transformed by rude spontaneity and straightforwardness. And in the trio - melodiousness again.
IN final sonatas (Rondo, Grazioso, A-dur) Beethoven markedly chose the structure of a rondo with three main themes (and with a final conduction of the first theme); this structure he later especially willingly applies in his finals, as the most spacious, flexible and, at the same time, different from the sonata allegro.
Lenz is responsible for 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 is not the result of a miss or failure, but of Beethoven's conscious intention, engendered by the composer's youthful enthusiasm and cunning thought.
Having shown in the first and second parts the richness and exactingness of his emotional world, his ethical ideas, Beethoven now, as it were, hides all this under the cover of secular splendor, salon grace. True, even in the finale, Beethoven's individuality makes itself felt - in the chasing of the rhythm, in the temperament of accents, in some fanfare intonations of minor fragments, in fresh, strong, tonal, rhythmic and textured turns of the development before the last appearance of the initial theme. But sharp corners, nevertheless, only show through, do not strike the eye. The young lion seemed to be tamed, forgot his wildness and independence. What a humble, polite cadence the rondo ends, and with it the whole sonata!
But let's not be fooled! Even if Beethoven was sincerely carried away by the "seduction of light". This is fleeting, as we know from many facts from the biography of the great musician. Under the cover of transient hobbies, a person of deep feelings, incorruptible will and enormous ethical requirements remains. In his heart, he, apparently, is already sneering at his own weaknesses and over the credulity of secular listeners, sneering and preparing for new creative exploits.
All musical quotes are from the edition: Beethoven. Sonatas for Piano. M., Muzgiz, 1946 (edited by F. Lamond), in two volumes. Measure numbering is also given for this edition.
Description of work
The purpose of this course work is to examine in detail the features of the form using the example of the first movement of the piano sonata No. 9 E-dur. This sonata, like many others, is quite popular among pianists and performers and is included in the stable repertoire of many of them. It is not only the focus of virtuoso performing techniques, but also a reflection of the characteristic Beethoven imagery.
The objectives of our research are a detailed analytical analysis of the structure, tonal plan, melody, harmonic and textured features in the first part of this cycle.
Introduction ………………………………………………………………………… .3
1. Introductory section:
The history and theory of the development of the genre of sonata …………………………… 5
Sonata genre in the works of L. van Beethoven ……. ………………… ... 10
2. Central analytical section:
2.1 The figurative content of the piano sonata No. 9 E-dur by L. van Beethoven ……………………………………………………. …………. …………. ……………
2.2 Structural analysis of the first movement of the sonata: comments on the form-scheme ……………………………………………………………………. ……… .15
2.3 Analysis of the means of expression in the first movement of the piano sonata No. 9 E-major by L. van Beethoven ………………………………………… ... 17
Conclusion:
1.Typical and individual features of the sonata form in the first movement of Beethoven's sonata for piano No. 9 E-dur ………………. ……… .26
1.2. Features of the composer's style on the example of L. van Beethoven's piano sonata No. 9 E-dur …………………………………………. ………… ..27
List of used literature ……………………… .. …………… .28
Files: 1 file
Creativity 1817-26 marked the new rise of Beethoven's genius and at the same time marked the end of the era of musical classicism. Until his last days, keeping faithful to the classical ideals, the composer found new forms and means of their embodiment, bordering on romantic ones. The great master of the sonata form, in which dramatic conflicts previously developed, Beethoven in his later works often turns to the fugue form, which is most suitable for the embodiment of the gradual formation of a generalized philosophical idea. The last five piano sonatas (nos. 28-32) and the last 5 quartets (nos. 12-16) are distinguished by a particularly complex and sophisticated musical language.
Thus, the genre of the sonata reached its highest peak in the work of Beethoven, who created 32 piano. 10 violin and 5 cello sonatas. In his sonatas, the figurative content is enriched, drama is embodied. collisions, the conflict begins. Many of his sonatas reach monumental proportions. Along with the refinement of form and concentration of expression inherent in the art of classicism, in Beethoven's sonatas there are also noticeable features that were subsequently perceived and developed by romantic composers. Beethoven often writes a sonata in the form of a four-part cycle, reproducing a sequence of parts of a symphony and quartet: sonata allegro - slow lyrical part - minuet (or scherzo) - finale. The middle parts are sometimes arranged in reverse order, sometimes the slow lyrical part is replaced by a part at a more mobile tempo (allegretto). This cycle will take hold in the sonatas of many romantic composers. Beethoven also has two-part sonatas (piano sonata op. 54, op. 90, op. 111), as well as sonatas with a free sequence of movements (piano sonata op. 26; quasi una fantasia op. 27 no. 1 and 2; op . 31 No. 3). In the last Beethoven sonatas, the tendency towards a close fusion of the cycle and greater freedom of interpretation is increasing. Connections between parts are introduced, continuous transitions are made from one part to another, fugue sections are included in the cycle. The first part sometimes loses its leading position in the cycle, the finale often becomes the center of gravity. There are reminiscences of previously sounded themes in various parts of the cycle (sonatas op. 101, 102 no. 1). Slow introductions to the first movements (op. 13, 78, 111) also begin to play a significant role in Beethoven's sonatas. Some of Beethoven's sonatas are characterized by elements of a programmatic approach, which has been widely developed in the music of romantic composers. For example, three movements of a piano sonata op. 81 are called "Farewell", "Parting" and "Return".
2. Central analytical section
2.2 The figurative content of piano sonata No. 9 E-dur by L. van Beethoven
The Piano Sonata E-dur is a cycle of three movements. This work becomes another example of the classical genre of sonata in the work of the Viennese classics and Beethoven in particular. The contrast between the parts of the cycle is built according to the principle of fast - moderately fast - fast (Allegro - Allegretto - Allegro comodo). This succession of parts creates a single line of dramatic development, in which all parts are sustained in a single figurative key.
The first part carries the main semantic load, the main semantic function is associated with it. The second movement is the lyrical center and in this case is close in character to the minuet, although the composer does not expose the genre designation. The sonata ends with a traditionally quick finale. In form, the last movement is a rondo sonata, despite the fact that the title of the movement indicates Rondo. Such a structural arrangement of the finale is quite natural for the Viennese classics, and even more so for Beethoven. Already starting from Mozart, in such cases the finale was most often written in the form of a rondo sonata, while in Beethoven's examples of the final movements in the form of a “usual” rondo are no longer to be found. Thus, the sonata is an organic, complete and well-built cycle that clearly characterizes Beethoven's thinking and his piano style.
Let's go directly to the consideration of the figurative content of the first part. This section of the sonata is filled with a light, positive mood. All themes in the exposition are distinguished by their completeness, richness of the life-affirming principle, their character of expression is homogeneous in terms of the figurative mood. The initial invocative intonation of the main part directed upwards rivets the listener's attention. The connecting party sounds as affirmative, as if confirming the idea just expressed. The side part at first removes the richness and density of the presentation. In the exposition, the side part becomes the focus of light lyrics, which, nevertheless, does not stand out from the general figurative sphere. The active final part returns the original mood and recharges the energetic imaginative atmosphere. The use of sequential sequences and numerous repetitions is characteristic, lengthening the intonation phrase and thus supporting the dramatic intensity of the composition. Of particular importance is the development, which, although small in scale (30 bars), brings tangible dramatic intensity. The expressive minor theme that appears here sets off, like a contrasting middle, the light images of the exposition and reprise of the sonata form. The dramatic culmination falls on the beginning of the reprise, that is, on the re-presentation of the main part. The given theme this time sounds with the dynamics of f with ascending impetuous passages in the left hand part, its melody is condensed by the chord presentation. All this gives the theme of the main part a solemn and festive sound. All other parts are presented without changes, except for their tonal rethinking. The final part smoothly flows into a small code structure, once again confirming the main image of the composition.
The second movement, as already mentioned, is the lyrical center of the entire concert cycle. Written in the key of e-moll (minor of the same name), it becomes the other side of the original image. The part is not large in scale - it is a complex three-part form. The outer sections (form da capo) are built in a simple three-part form with a developmental type in the middle, and the middle section 7 has a simple two-part form (tonality C-dur). The development in this part is based on slight variation and numerous repetitions associated with the danceable nature of music.
The finale of the sonata, written in the key of E-dur, is based on images of joy and jubilation, which are in many respects consonant with the beginning of the work .. The thematic material is not devoid of virtuosity - this is evidenced by the development section (to which the definition of an episode is more suitable), entirely built on general forms of movement, namely - on light, impetuous arpeggiated passages. The entire finale is sustained in a single figurative and semantic key, echoing the first movement of the sonata, and affirms a bright festive mood.
2.2 Structural analysis of the first movement of the sonata: comments on the form-scheme
The first movement of the piano sonata No. 9 E-dur by L. van Beethoven, which we are examining, is written in sonata form. This is a typical interpretation of the sonata form for the Viennese classics, in particular for the early period of the composer's work. Thematicism already gravitates towards expanded forms, but such a design will be fully revealed in Beethoven's later works. There is no deep dramatic conflict between the parties, but the contrast is still there. Development is rather a construction of the type of episode in which the development of the thematic of the main party takes a minimum place.
The exposition traditionally begins with a presentation of the main part. In its structure, it is a large sentence of twelve bars. Of these, the first four, in fact, set out a complete musical idea such as an epigraph, which we will denote by letter a. It is this thematic element that will play a key role in the construction of other themes of the sonata exposition, and will also undergo a certain amount of development in the development. The other two elements of the main party "finish off" the idea stated at the beginning. The first of them is figurative intonation, textured in the form of roll calls. The second element is already connected directly with the cadence zone.
The linking part begins like the second sentence of the main one, which is quite consonant with the classical sonata form. In form, the linking part is a sentence of ten measures, in which the most part is played out with the dominant harmony in relation to the key of the side part. It should be noted here the method of replacing the tonic, in which the expected resolution of the last harmony of the connecting part in the h-minor key is replaced by the appearance of H-major.
The side game has a clear structure of the period (8 + 8), in which the second sentence is a counterpoint permutation of the votes of the first one with insignificant variation. After the full-sounding main and connecting parts, the side part with its discharged, in some places monophonic texture, lyrical second intonations in the melody introduces an element of figurative contrast into the exposition. The final batch is significant in comparison with the rest of the batches and consists of a number of elements. The first of them, through repetitions, affirms a "new" tonic and has a clearly final character, which does not call into question its definition as the beginning of the final game. The second element introduces the illusion of movement, continuation of development and even leads to the dynamics of ff, however, after an abrupt stop, a third element appears - a rethought first element of the main party. This structure, to some extent, serves as a link with development, since ends with dominant harmony, the resolution of which falls on the beginning of development 8.
The development begins with the modified intonations of the main part against the background of the sonority of the unstable harmonies of the tonality of the harmonic subdominant (a-minor), which marks a change in function from stable (exposure) to unstable (development) with a median type of presentation. After the motives of the main theme, a new emotionally excited theme appears, which has a cross-cutting nature of presentation. However, you can find a conditional border in it: the first eight measures are set out within the key of a-minor, the second eight begin with C-dur and end with a dominant to the key of e-minor. The development in the key of E-dur 9 ends with the pre-ordinary zone, which is based on the intonations of the same first element of the main part.
The reprise in this sonata form reproduces all the themes with some changes. The reprise begins with a varied presentation of the main part, in which the structure and tonality are preserved, but the texture and dynamics change. The connecting part, following the main one, is also presented in a changed textured design, and also does not perform modulation, remaining within the framework of the main key. The side part is presented without changes and is, in fact, a "transport" of the whole theme into a new key. The final part expands in the area of \u200b\u200bits third element (instead of four - fifteen measures), which takes over the function of coding the entire part.
2.3 Analysis of the means of expression in the first movement of the piano sonata No. 9 E-dur by L. van Beethoven
The compositional structure and dramatic concept of the considered piano sonata reflect the characteristic tendencies of the Viennese classical school. Traditional structural clarity, vivid expression of the instrumental beginning, connection with the traditions of dance music, significant melodic diversity - these are the main features inherent in thematic deployment in the first movement of the E-dur sonata. Let us consider in more detail their interaction using the example of the analysis of the means of expressiveness of the main themes in the exposition:
Main party:
The theme of the main part is an example of a melody of a light, energetic, even Beethoven-like heroic character. The initial motive in a confident movement with elements of marching outlines the interval of the fourth (a move from the fifth step up to the first), which is then sequenced. This is the first element of the main party. In the next thematic element (light sixteenth durations moving in thirds intervals) features of some scurry are guessed. Finally, the last element of the main part draws another figurative side: a smooth movement along the sounds of chords, adjacent to the cadence zone. Thus, over the course of twelve bars, a full-fledged development of thematism is carried out, a comprehensive disclosure of the original image.
Despite the multi-part nature of the main part, it is all kept within the main key. The fret is clearly outlined by the main functions, and the full functional turn is carried out already in the first four strokes. The entire main game ends with an invading cadence on the dominant, the resolution of which falls on the connecting party.
Functions of sounds in fret:
I Art. - function T.
II Art. - upper opening tone.
III Art. - the function of the upper mediant in E-dur.
IV Art. - S, in an altered form - SS before D.
V Art. - function D.
VI Art. - the lower median in the main key.
VII Art. - lower opening tone.
The expressive quality of the mode under consideration is to emphasize stability by highlighting its main steps. The tonic function prevails here, which is a traditional feature of the main part in the sonata forms of the Viennese classicism period. Let's take a closer look:
- 1 measure ("inviting motive") - completely on T (stability);
- 2 bar - completely on the S item, and in a consonant and dissonant presentation (instability);
- Step 3 - dominant function (increased instability).
- 4 bar - resolution in root and stop.
- 5-6 measures - completely on the 1st stage. (stability), except for the very last sound, which is an increased IV stage, tending to the dominant
- 7-8 measures - completely on the dominant function (non-empty).
- Measures 9-12 - cadence repeated twice, in which the dominant function is played out.
The history of the creation of Beethoven's Moonlight Sonata is closely related to his biography, as well as to hearing loss. While writing his famous work, he experienced serious health problems, although he was at the top of popularity. He was a welcome guest in aristocratic salons, worked hard and was considered a fashionable musician. On his account there were already many works, including sonatas. However, it is the composition in question that is considered one of the most successful in his work.
Meet Juliet Guicciardi
The story of the creation of Beethoven's Moonlight Sonata is directly related to this woman, since he dedicated his new creation to her. She was a countess and at the time of her acquaintance with the famous composer was at a very young age.
Together with her cousins, the girl began to take lessons from him and conquered her teacher with her cheerfulness, good nature and sociability. Beethoven fell in love with her and dreamed of marrying a young beauty. This new feeling caused him a creative upsurge, and he enthusiastically began to work on the work, which has now acquired the status of a cult.
The 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 going to marriage. However, the young flirt later preferred a prominent count to a poor musician, whom she eventually married. This was a heavy blow for the composer, which was reflected in the second part of the work in question. There is pain, anger and despair in it, which are in stark contrast to the serene sound of the first movement. The author's depression was aggravated by hearing loss.
Disease
The story of Beethoven's Moonlight Sonata is as dramatic as the fate of its author. He suffered 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 to hear the sounds. This could not but affect his work.
Beethoven was famous for being able to accurately select the right notes, choosing from the rich palette of the orchestra the right musical shades and tonalities. Now it was getting harder and harder 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 the motive of a rebellious impulse sounds, which, it seems, does not find a way out. Undoubtedly, this theme is connected with the torment that the composer experienced while 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 composer's impressionability, 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, so many believe that the title does not correspond to the content.
However, to the composer's friend, poet and music critic Ludwig Rellstab, she recalled the image of a night lake in the moonlight. The second version of the origin of the name is associated with the fact that at the time in question, the fashion for everything that was somehow connected with the moon prevailed, so contemporaries readily accepted this beautiful epithet.
Further destiny
The history of the creation of Beethoven's Moonlight Sonata should be briefly considered in the context of the composer's biography, since unrequited love influenced his entire subsequent life. After parting with Juliet, he left Vienna and moved to the city, where he wrote his famous will. In it, he poured out those bitter feelings that were reflected in his work. The composer wrote that, despite the apparent gloom and gloom, he was predisposed to kindness and tenderness. He also complained of his deafness.
The history of the creation of Beethoven's "Moonlight Sonata" 14 helps in many ways to understand further events in his fate. Out of despair, he almost made the decision to commit suicide, but in the end he rallied himself and, being already almost completely deaf, wrote his most famous works. A few years later, the lovers met again. Indicative is the fact that Juliet was the first to come to the composer.
She recalled a happy youth, complained of poverty and asked for money. Beethoven lent her a significant amount, but asked not to see him again. In 1826, the maestro fell seriously ill and suffered for several months, but not so much from physical pain as from the consciousness that he could not work. The next year he passed away, and after his death a tender letter dedicated to Juliet was found, proving that the great musician retained a feeling of love for the woman who inspired him to create his most famous work. So, one of the most prominent representatives was Ludwig van Beethoven. The Moonlight Sonata, whose creation story was briefly revealed in this essay, is still performed on the best stages around the world.
In the shadow of the stunning Largo e mesto, this Minuet was perhaps somewhat underestimated. It has not attracted much attention from researchers and is not usually seen as a shining manifestation of the style and genius of its creator.
Meanwhile, Beethoven's logic of the struggle of contrasting principles found in the Minuet a peculiar and subtle embodiment. In addition, it anticipates the melodic features of subsequent composers - Schumann, Chopin. This, of course, does not make Beethoven's style close to romanticism: the difference between artistic concepts and outlook remains valid. But such anticipations constitute an essential aspect of Beethoven's work and once again testify to his striving for the future, to his significance for the further development of art.
The minuet in question is of a light lyrical character and was called "amiable" by Anton Rubinstein. In contrast to the basic character of the play, there are some more active, dynamic elements, to a certain extent related to the genre of scherzo. And the main artistic discovery of the play consists in how the functions of various genre and stylistic components are distributed throughout the entire work, how the dance melody of the classical minuet anticipates mature romantic lyrics, and how these lyrics are combined with a scary element. Its detection and clarification is one of the tasks of the etude.
Another challenge is to demonstrate the different sides of the analytical method outlined in the previous parts of the book.
Within the three-part form da capo, the melodic extreme sections of the Minuet are opposed by the middle (trio) - more active, with sharply accentuated motives. It is inferior to the extreme in size and plays the role of shading contrast. The extreme sections, in turn, are also three-part, and in them - on a correspondingly smaller scale and with less sharpness of contrast - a similar ratio is reproduced: the initial period and the reprise set out and develop a dance-lyric melody, while the imitation middle is more mobile and approaches in character to an episode that could occur in a scherzo.
Finally, the dynamic element also permeates the main lyrical theme. This is just one syncopated "a" sound in the left-hand part, taken sforzando in an ascending octave jump (see bar 7):
This moment may seem like only a detail, a separate particular touch, designed to add some piquancy to musical thought, to increase its interest. However, the further course of the play reveals the true meaning of this detail. Indeed, the impulse for the simulated middle of the first section is a similar ascending octave pitch in bass with an emphasis (sf) on the second sound:
In the recap (inside the first section), the bass octave move and the syncope effect of the seventh measure of the theme are enhanced:
Finally, the trio also begins with a two-tone rising motive forte in the bass - true, a fourth, but then gradually expanding to an octave:
The trio ends with octave intonations of fortissimo, and moreover on the sound "a".
It becomes clear that the syncopation of bars 7-8 really serves as an expression of a contrasting (relatively speaking, scherzous) beginning, carried out with great consistency throughout the entire piece. It is also obvious that the juxtaposition of the melodious-lyrical and scherzous elements (on the basis of the dance that unites them) is given at three different scale levels: within the main theme, then within the framework of the simple three-part form of the first section, and finally, within the complex three-part form of the minuet (this is one from the expressions of the principle of multiple and concentrated effects already familiar to us).
Let us now pay attention to the first sound of the melody - again the syncopated "a". But this syncope is not dynamic, but lyrical. Such syncopations and their frequent use by Chopin (recall at least Waltz in h-moll) have already been discussed in the section "On the relationship between the content and means of music." Apparently, the initial lyric syncope of Beethoven's Minuet is one of the earliest, most striking examples of this kind.
The play, therefore, contains two different kinds of syncopation. As mentioned in the section "The principle of combining functions", here different functions of the same medium are combined at a distance, and as a result, a play with the possibilities of syncope arises, which gives a great artistic effect: the syncopated "a" of bar 7 simultaneously resembles the initial "a", and noticeably differs from him in its surprise and sharpness. In the next measure (8) - again a lyric syncope, beginning the second sentence. The juxtaposition of the scherzous and lyrical principles is thus manifested in the described ratio of the two types of syncope.
It is not difficult to distinguish between them: scherzous syncopations are given sforzando in the bass voice and precede even (in this case, easy) bars (bar 8 in example 68, bar 32 in example 70); lyric ones do not have a sforzando shade, sound in a melody and precede the odd (heavy) bars (bars 1, 9 and 13 in example 68, bar 33 in example 70). At the climax of the play, as we shall see, these two types of syncope merge.
Now consider the Minuet's initial turnover. It concentrates the intonations that became characteristic of lyrical melody in the 19th century: behind the syncope there is a typical sixth leap from the V step to the III, followed by a gradual decay and humming of the tonic d, including a delay to the opening tone. All of this - with a relatively even rhythmic movement, legato, piano, dolce. Each of the listed means individually can, of course, be found in a wide variety of genre and stylistic conditions, but their entire totality is hardly. In addition, the role of turnover in a work, its fate in it, is important. Here this role is very significant, the motive is repeatedly repeated, asserted, strengthened.
For the further development of the piece, in particular, the alternation of legato and staccato in the second intonations of measures 5-6 (and in similar moments) is essential. This main meaningful opposition in the area of \u200b\u200bstrokes also serves here to combine the two main expressive principles of the play. Staccato brings in a touch of pungency that prepares the seventh bar syncope. The latter still sounds unexpected, violates the inertia of perception.
Above we discussed the meaning of this syncope in the Minuet's concept. But the meaningful function of syncope is combined here (this time in simultaneity) with the communicative one. Indeed, it is in the usual cadence, which is perceived inertly due to the familiarity of its form and, in addition, signifying a decrease in tension, that the danger of a fall in the listener's interest also arises. And syncope, breaking inertia, maintains this interest at the right time.
It is noteworthy that in the second sentence, which is generally similar to the first one, there is no such syncope (on the contrary, another lyric syncope appears. This makes the full cadence of the period stable and rhythmically. However, the absence of acute syncope also violates the inertia of perception, since it ( syncope) is already expected by analogy with the previous construction.As already mentioned in the section on inertia of perception, in such cases the disappeared, displaced (when repeating a section) element still appears in the future, that is, the artist somehow returns his "debt Here it happens immediately after the end (and repetition) of the period: the initial intonation of the middle - the aforementioned octave move in bass with an emphasis on the second sound - is only a new form of the repressed element. Its appearance is perceived as desired, falls on the prepared ground, captures favorable metric-syntactic positions (a strong share of the first measure of the new construction) and therefore is able to serve as an impulse, the action of which extends to the entire middle.
This lively middle evokes an intensification of the lyrics in contrast: in the first sentence of the reprise, the melody begins against the background of the trill of the upper voice, unfolds more continuously, includes chromatic intonation (a - ais - h). The texture and harmony are enriched (deviation in the second stage tonality). But all this, in turn, entails a more active manifestation of the dynamic element.
The climax, the turning point and the original denouement occur in the second sentence of the reprise.
The sentence is expanded by means of an ascending sequencing of the main lyrical motive. The climactic d is, in essence, the same lyrical syncope that began the whole play and this sentence. But here the syncopated sound of the melody is taken sforzando and precedes the even (light) bar, which was still characteristic of the scherzo syncopation. In addition, on the downbeat of the next measure, there is a dissonant altered chord, also played by sforzando (here the syncopation is of a higher order: the chord falls on a light bar). However, these manifestations of the scherzous element, which coincide with the culmination of the lyrical growth, are already subordinated to it: the chord with expressive semitone gravities of the increased sixth supports and enhances the climax. And it represents not only a melodic peak, but also a turning point in the figurative development of the main section of the Minuet (before the trio). There is a combination in the simultaneity of two types of syncope, which expresses the fusion of the scherzous and lyrical principles, and the first obeys the second, as if dissolving in it. The climax could be likened here to the last attempt to playfully frown, immediately turning into a smile.
Such is the consistently carried out witty figurative drama of the main section. At the same time, it is natural that the lyrics, which had established themselves in the struggle, resulted in a wide melodic wave (the second sentence of the reprise), especially clearly reminiscent of the lyric plays of romantics. The sequential expansion of the recapitulation is quite common for the Viennese classics, but the conquest in its second sentence of a bright melodic peak, harmonized by an altered chord and serving as the culmination of the whole form, became typical only for subsequent composers. In the very structure of the wave, there is again a correspondence between the smaller and the larger structure: the sequenced initial motive is not only a jump with filling, but at the same time a small wave of rise and fall. In turn, the large wave also represents a jump with filling (in the broad sense): in its first half - when it rises - there are jumps, in the second - not. Perhaps this wave most likely resembles, in particular, the culmination and scale-like decline with chromatism in melody and harmony (with a smooth movement of all voices), the lyrics of Schumann.
Some other details are also characteristic of the post-Beethoven lyrics. So, the reprise ends with an imperfect cadence: the melody freezes on a fifth tone. The addition that follows the reprise ends in a similar way, which has the character of a dialogue (this addition also somewhat anticipates Schumann's music).
This time, even the dominant preceding the last tonic is not given in the basic form, but in the form of a terzquart chord - for the sake of unity with the harmonic structure of the entire complement and the main motive of Minuet. Such an ending to the play is an extremely unusual case for the Viennese classics. In the works of subsequent composers, imperfect final cadances are often encountered.
It has already been said above that the "farewell roll call" of registers, motives, timbres is often found in codes and additions. But, perhaps, such final juxtapositions in lyrical music are especially impressive. In this case, the farewell dialogue is combined with the deepening of the lyrics, with its new look (as you know, in Beethoven's codes, the new quality of the image has become a fairly characteristic phenomenon). Minuet's initial motive not only sounds in a new way in the low register, but also changed melodiously: the holding of d - cis is now extended, it becomes more melodious 1. A metric transformation also took place: the beat on which the dominantterzquart chord fell at the beginning of the Minuet (with the retention of d in the melody) was light (second), here it became heavy (third). The bar, which contained the melodic turn of a-fis-e, was, on the contrary, heavy (first), and now it has turned into a light (second). The response motif in the upper voice also enhances the lyrical expressiveness of those intonations of the theme (a - h - a) on which it is built. The very isolation of two motifs from an integral melodic line and their comparison in different voices and registers can make them more significant, present them as if in an increase (not rhythmic, but psychological). Let us recall that the decomposition of a certain unity into its constituent elements for a more complete perception of each of them, and then of the whole, is an important technique of not only scientific, but also artistic cognition (this was already discussed in the section "On artistic discovery" when analyzing Chopin's Barcarole) ...
However, in art, the subsequent synthesis is sometimes left to the perception of the listener (viewer, reader). This is also the case in this case: the addition, it would seem, only decomposes the theme into elements, without recreating it; but the listener remembers it and perceives - after the addition that deepens the expressiveness of its elements - the whole lyrical image is more complete and voluminous.
A subtle touch of addition is the alternation of natural and harmonic VI degrees in the melody. This technique, used by Beethoven in the final constructions and later works (for example, in the final part of the first movement of the Ninth Symphony, see bars 40-31 from the end of the exhibition), became widespread in the work of subsequent composers of the 19th century. The very same humming in addition to the V scale of the scale with two chromatic auxiliary sounds b and gis might seem in the conditions of Minuet's diatonic melody insufficiently prepared if chromatic intonations had not flickered in the melody earlier. Apparently, however, more important in this respect is the culminating harmony, which contains the sounds b and gis, gravitating towards a. In turn, this harmony - the only altered and unusually sounding chord in the entire piece - perhaps gets some additional justification in the a - b - a - gis - intonations mentioned above. In a word, the culminating harmony and the pacifying halftone singing of the V scale of the fret in addition, probably form a kind of pair, representing
“A peculiar manifestation of the principle of the pairing of unusual means, described in the last section of the previous part of the book.
We will consider the thematicism of the trio more briefly. It stands, as it were, in the opposite relation to the thematicism of the extreme parts. What is there in the background and has the character of a contrasting element that is overcome in the process of development comes to the fore in the trio (active ascending motives of two sounds). And vice versa, the subordinate (contrasting) motive within the trio, also surmounted and displaced at the end of this section, is the two-beat piano, the melodic-rhythmic figure of which resembles the turn of measures 2-3 of the main theme of Minuet, and the sound in the low register echoes the similar sound of the initial motive the main topic in the immediately preceding appendix.
Behind this simple relationship, however, lies a more complex one. It would seem that the theme of the trio is close to the themes of the contrasting main parts typical for the first allegros of Mozart. But, in addition to the fact that both elements of contrast are given against the background of the same triplet accompaniment, their relationship takes on a slightly different meaning. The second element, although it includes a retention, ends with an affirmative (iambic) intonation of the descending fifth, the first sound of which is also taken staccato. Invariably responding in a low register (unusual for the second elements of contrasting themes) to short active motifs thrown from the bass to the upper voice, a quiet and rhythmically even phrase here is not so much a soft or weak beginning as an imperturbably calm, as if cooling the ardor of sharp impulses.
This perception of the phrase is also determined by its place in the entire Minuet. After all, the three-part form of the classical minuet is strictly prescribed by tradition, and a more or less prepared listener knows that the trio will be followed by a reprise, where in this case the primacy of the dance-lyrical principle will be restored. Due to this psychological attitude, the listener feels not only the subordinate position of the described quiet phrase within the trio, but also the fact that it serves as a representative of the dominant element of the entire play, which has only temporarily faded into the background. Thus, the classical contrasting ratio of motives in the trio turns out to be as if ambivalent and is given with a certain mildly ironic tinge, which, in turn, serves as one of the expressions of the scrutiny of this trio as a whole.
The general drama of the play is connected, as is clear from what has been said, with the displacement of the scherzous element by the lyrical one at different levels. In the topic itself, the first sentence contains acute syncope, the second does not. We have traced in detail the overcoming of the scherzous element in the three-part form of the first section. But after the quiet and gentle intonations of the lyrical addition, this element again invades as a trio, in order to then again be supplanted by the general reprise. We have distracted from repeating parts within the first section of the Minuet. They have a predominantly communicative meaning - they fix the corresponding material in the listener's memory, but, of course, they also affect the proportions of the piece, and through them, the semantic relationships, giving the first section more weight than the trio. the logic of development: for example, after the first appearance of the addition, the imitation middle sounds again, beginning with the accented two-tone motives of the bass voice (see example 69), and after the repetition of the addition, there is a trio starting with a similar motive.
Having finished the analysis of the thematic material and the development of the play, let us now return to the anticipations we noted (in the extreme sections of the Minuet) of the later lyric melody. It would seem that they were not at all caused either by the genre of the minuet in general, or by the nature of this play, which does not at all pretend to be a special emotional expression, developed songwriting, and a wide spread of lyrical feelings. Apparently, these anticipations are due precisely to the fact that the lyrical expressiveness of the extreme sections of the play is consistently intensified in the struggle against the scherzo-dynamic element and, as it were, is forced to put into action more and more new resources. Since this is carried out under conditions of severe restrictions imposed by the chosen genre and the general makeup of music, which do not allow a wide or violent outflow of emotions, melodic and other means develop in the direction of the subtle lyrics of small plays by romantics. This example shows once again that innovation is sometimes also stimulated by those special restrictions that are associated with the meaning of the artistic task.
Here the main artistic discovery of the play is also revealed. There are many lyrical minuets (for example, Mozart), even more profoundly lyrical than this one. Minuets with all sorts of scherzous shades and accents are found in abundance among the Viennese classics. Finally, it is not uncommon in minuets to combine lyrical elements with scary ones. But the consistently conducted drama of the struggle of these elements, in the process of which they seem to spur and strengthen each other, the struggle leading to a climax and a denouement with the dominance of the lyrical beginning after it, is a specific, uniquely individual discovery of this particular Minuet and at the same time a discovery typically Beethoven in terms of extraordinary logic and vivid dialectic of drama (transformation of scherzous accents into one of the manifestations of lyrical climax). It also entailed a number of more private discoveries in the field of the described anticipations of the lyrics of nineteenth-century composers.
The originality of the play lies, however, in the fact that the means of post-Beethoven lyrics that have arisen in it are not given in all their strength: their action is restrained by the general character of the play (fast pace, dance, the significant role of staccato, the predominance of quiet sonata) and its position in the sonata cycle as a part that contrasts with other parts also with less weight and is designed to give some relaxation. Therefore, it is hardly necessary to accentuate the features of romantic lyrics when performing Minuet: immediately after Largo e mesto, they can only sound in an undertone. The analysis presented here, much like slow motion filming, inevitably highlights these features too close-up, but only in order to better see and understand them, and then recall their real place in this play - albeit lyrical, but secular, witty and movable classic minuet. Perceived under its cover, within its restraining framework, these features give the music an inexplicable charm.
What has now been said about the Minuet also applies to one degree or another to some of the other works of early Beethoven or to their individual episodes. Suffice it to recall, for example, the mobile-lyrical opening theme of the Tenth Sonata (Q-dur, op. 14 No. 2), which is extremely flexible, sinuous and elastic, containing many features that later became characteristic of the lyrics of subsequent composers. In the connecting part of this sonata there is a chain of descending retentions, repeated twice (sequenced) above and above (bars 13-20), which also throws the arch towards the melody of the future, especially to the typical drama of Tchaikovsky's melodic lines. But again, the almost finished mechanism of later lyrics was not put into full swing: the mobility of the theme, the comparative brevity of the detentions, grace notes, and finally, the Viennese-classical character of the accompaniment - all this restrains the emerging romantic expressiveness. Beethoven, apparently, proceeds in such episodes from the traditions of Rousseauist sensitive lyricism, however, he implements them in such a way that means are created that largely anticipate the future, although only in it will fully reveal their expressive possibilities (of course, under correspondingly different context conditions). will begin to act in full force. These observations and considerations, perhaps, provide some additional material to the problem "Early Beethoven and Romanticism".
In the previous exposition, the Minuet was considered as a relatively independent piece, and therefore references to its place in the sonata were limited to the necessary minimum. This approach is to a large extent justified, since parts of the classical cycles do have a certain autonomy and allow for separate execution. It is natural, however, that the part exerts its full artistic influence only within the framework of the whole. And therefore, in order to understand the impression made by Minuet in the perception of the entire sonata, it is necessary to clarify the corresponding correlations and connections - first of all with the immediately preceding Largo. The analysis of these connections will be combined here with the demonstration of a certain way of describing the work - the way mentioned at the end of the section "On artistic discovery": we sort of deduce the structure and, in part, even the thematism of the play (at some levels) from its previously known creative task, its genre , functions in the sonata cycle, from the artistic discovery contained in it, as well as from the typical features of the composer's style and traditions embodied in it.
Indeed, the role of this piece in the sonata is largely determined by its relation to the neighboring parts - Largo and the finale. The clearly expressed scherzo features of the latter would not be consistent with the choice of the scherzo as the genre of the third movement of the sonata (it is also impossible to do without the fast middle movement, that is, to make the cycle three-part, since this finale could not balance Largo). Remains - in the conditions of early Beethoven's style - the only possibility - the minuet. Its main function is a contrast to the mournful Largo, giving, on the one hand, relaxation, less tension, on the other, some, albeit restrained, lyrical enlightenment (here and there with a pastoral tinge: remember the theme, which begins against the background of a trill in the upper voice ).
But the classic minuet itself is a contrasting three-part form. And in those cases when he has a predominantly dance-lyrical character, his trio is more active. Such a trio can prepare the finale, and in this preparation lies the second function of the Minuet.
Remembering now Beethoven's tendency to develop in concentric circles, it is easy to assume that the comparison of the dance-lyrical and more dynamic (or scherzous) beginning will be carried out not only at the level of the minuet form as a whole, but also within its parts. An additional basis for this assumption is a similar development (but with an inverse relationship of themes) in the fast middle section of the earlier Second Sonata. Indeed, in her Scherzo, the contrasting trio is naturally more calm, melodious. But in the middle of the extreme sections there is also a melodious episode (gis-moll), close in its even rhythm, smooth melodic pattern, minor scale (as well as the texture of the accompaniment) to the trio of the same Scherzo. In turn, the first bars of this episode (repeating quarters) directly follow from bars 3-4 of the main theme of the Scherzo, rhythmically contrasting with the more lively initial motives. It is therefore easy to expect that, on the contrary, a more mobile middle will appear in the dance-lyrical extreme sections of the Minuet from Sonata Seventh (this is actually the case).
It is more difficult to realize in the Minuet a similar relationship within the main theme. For if themes of an active or scary type do not lose their character, when calmer or softer motives are included in them as a contrast, melodious, lyrical themes tend to more homogeneous material and non-contrasting development. That is why in the Scherzo from the Second Sonata the melodious trio is homogeneous, and the first theme contains some contrast, while in the Minuet from the Seventh Sonata the more active trio is internally contrasting, and the main theme is melodically homogeneous.
But is it still possible to introduce a contrasting dynamic element into such a theme? Obviously, yes, but not as a new motive in the main melodic voice, but as a short impulse accompanied by it. Taking into account the role of syncopation in Beethoven's work as such impulses, it is easy to understand that with the given general idea of \u200b\u200bMinuet, the composer, of course, could introduce a syncope accent to accompany the theme, and, of course, where it is most needed and possible with a communicative points of view (on the decline of tension, during a relatively long sounding of the cadence quart-text cord, that is, as if instead of the usual figurative filling of the rhythmic stop of the melody). It is possible that in the real creative process this communicative function was the initial one. And this already prompts that in the further development of the Minuet the scherzo-dynamic element appears mainly in the form of short impulses. The intention to consistently carry out the struggle of opposing principles at different levels can lead to the happy idea of \u200b\u200bgiving lyrical syncopations in the theme and thus making the comparison of different types of syncopation one of the means of realizing the main artistic discovery (a kind of sub-theme of the second kind, serving to solve the general theme of the play ). The vicissitudes of the struggle described above could also be deduced from this situation almost as "asking for".
Quotation marks here, of course, indicate the conventionality of this kind of derivation, for in a work of art there are no elements and details, either absolutely necessary or completely arbitrary. But everything is so free and unconstrained that it may seem the result of an arbitrary choice of the artist (the unrestricted play of his imagination), and at the same time it is so motivated, artistically justified, organic that it often gives the impression of the only possible, whereas in reality the artist's imagination could would suggest other solutions. The derivation of some features of the structure of a work from a certain kind of data, which we use, is just that method of description that clearly reveals precisely the motivation, the organic nature of compositional decisions, the correspondence between the structure of the work and its creative task, its theme (in the general meaning of the word), the natural realization of the theme at different levels of structure (of course, in some specific historical, stylistic and genre conditions). Let us also recall that such a "generative description" does not at all reproduce the process of creating a work by an artist.
Let us now deduce, proceeding from the conditions known to us, the main motive of Minuet, its initial revolution, which occupies the first three measures and a strong beat of the fourth. One of these conditions is the deep motivational and intonational unity of the cycle parts, characteristic of Beethoven's style. The other is the already mentioned function of Minuet, and above all of its main theme, as a kind of dawn, a quiet dawn after Largo. Naturally, with Beethoven's type of cycle unity, enlightenment will affect not only the general character of music (in particular, in the change of the eponymous minor to a major): it will also manifest itself in the corresponding transformation of the very intonational sphere that dominates in Largo. This is one of the secrets of the particularly striking influence of the Minuet when perceived immediately after Largo.
In the first bar of Largo, the melody rotates in the range of a diminished fourth between the opening tone and the tonic third of the minor. Measure 3 contains the progressive decay from the third to the opening tone. The main motive of the side part follows from it (we give an example from the exposition, that is, in the tonality of the dominant).
Here, the choreic intonation of the type of retention is directed towards the opening tone (the quarter-text chord is resolved into the dominant), and the tertz top is taken in an octave jump.
If now we make the motif of the side part Largo light and lyrical, that is, move it to a higher register, to major and replace the octave jump with a typical lyric sixth V-III, then the intonation contours of the first Minuet motive will immediately appear. Indeed, Minuet's motive retains both the leap to the top of the third, and the gradual decline from it to the opening tone, and the retention to the latter. True, in this smoothly rounded motif, the opening tone, in contrast to the motive of the side part Largo, gets permission. But in Minuet's lyrical conclusion, where the same motive runs in a low register, it ends precisely at the opening tone, and the intonation of the detention is emphasized, stretched. Ultimately, the motive formations under consideration go back to the gradual descent in the volume of the fourth, which opens the initial Presto of the sonata and dominates in it. For the side part Largo and Minuet's motive, the beginning with an ascending leap to the III degree of the scale and a delay to the opening tone are specific.
Finally, it is important that in the final part of the Largo exposition (bars 21-22) the motive of the side part also appears in the low register (but not in the bass voice, that is, again, as in the Minuet), sounds forte, pathetic, and therefore the quiet major main the motif from the Minuet's addition appears with particular certainty as the pacification and enlightenment of the Largo intonation sphere. And this is regardless of whether the arch described now reaches the listener's consciousness or remains (which is much more likely) in the subconscious. In any case, the close intonational connection between Minuet and Largo in a peculiar way accentuates and sharpens their contrast, deepens and clarifies the very meaning of this contrast, and, consequently, enhances the impression made by Minuet.
There is no need to dwell here on the Minuet's connections with other parts of the sonata. However, it is important to understand its main theme-melody not only as a result of the corresponding development of the intonation sphere of this cycle, in particular its genre transformation, but also as the implementation of Beethoven's inherited traditions of themes of the same melodic and danceable, mobile-lyrical make-up. We now mean not concentrated in the main motif expressive and structurally expressive primary complexes (lyrical sexist, lyric syncope, retention, leap with smooth filling, small wave), but above all some successive connections of the general structure of the theme as a certain kind of square period with similar dance, song and song-dance-valiant periods of Mozart.
One of the features of the theme of Beethoven's Minuet is the beginning of the second sentence of the period a second higher than the first, in the key of the II degree. This was also found in Mozart. In Beethoven's Minuet, the possibility of a sequential increase inherent in such a structure is realized: in the second sentence of the reprise, within the extreme sections, as we have seen, an ascending sequence is given. It is essential that its second link (G-dur) is partly perceived as the third, since the first link (e-minor) itself is a sequential displacement of the initial motive of the piece (this enhances the build-up effect).
Among Mozart's melodic and dance periods with the described structure, one can also find one in which the melodic and harmonic contours of the thematic core (that is, the first half of the sentence) are very close to the contours of the first motive of Beethoven's Minuet (theme from the Allegro side-group of Mozart's Piano Concerto in d minor).
The melodies of the initial core of this theme and the theme of Beethoven's Minuet coincide note for note. Harmonization is also the same: T - D43 -T6. In the second sentence of the period, the initial core is similarly moved up by a second. The second halves of the first sentences are also close (the gradual decay of the melody from the V to the II degree of the scale).
The very fact of the relationship between the theme of Beethoven's Minuet and one of the bright dance-melodious side parts of Mozart's sonata (concert) allegro is indicative here. But the differences are even more interesting: although the top of three in the initial motive of Mozart is more highlighted, the absence of lyric syncope and retention in it, a less even rhythm, in particular the two sixteenth notes of a somewhat melismatic character, make Mozart's turn, in contrast to Beethoven's, by no means close to romantic lyrics. And finally, the last thing. Comparison of two related themes well illustrates the opposition of even and odd meters, which was discussed in the section "On the System of Musical Means": it is clearly seen to what extent the three-beat theme is (all other things being equal) softer and more lyrical than the four-beat one.
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