Adelaide (Beethoven)
The art song of Adelaide was set to music by Ludwig van Beethoven in 1795-1796 with piano accompaniment as Opus 46. It is written in B flat major for soprano or tenor voice. In the 19th century, Eduard Hanslick called the song " ... the only song of Beethoven, whose loss would leave a gap in the emotional life of our nation's people ... "
Formal Aspects
As Charles Rosen has shown, Beethoven's approach carried over to use the form of the sonata form in its classical period on works for which is not provided on this form. So corresponds, roughly speaking, even this short song about the sonata form.
- Exposure first stanza: The main theme is in the key of B- flat major, and remains pure triads and occasional seventh chords (F7 ) in cadence usual functional stages of dominant ( F major ), subdominant ( E flat major ), and the minor levels the second and third stage ( c minor and D minor ).
- Exposure 2nd verse: modulation to the dominant, F major (which includes cadence in F major ).
- Implementation in the third stanza: The material of the exposition is guided through several keys.
- Recapitulation in the fourth stanza: In the first few bars (Allegro molto ) returning to B flat major, a faster recovery of the start of exposure. In the following example, note the first line corresponds exactly to the corresponding notes of the Allegro.
In two respects the sonata form is certainly not true: Firstly, the implementation is not as usual, a portion of heightened tension, but more relaxed. On the other hand, the second theme of the exposition in the recapitulation is not taken up again. Therefore, one can only say that Adelaide is strongly influenced by the sonata form, not the fact that it is written in sonata form.
Design of the piano accompaniment
Beethoven design of the piano part reflects the above treated ajar to the sonata form formal design, but also the independent thereof piano technical instruments after the dramatic and text- related reasons.
In the first stanza, the piano accompaniment is almost continuously designed in broken triads in the right hand triplet eighth notes with long-held octave bass notes of the left hand.
The second verse alternates between triplet block chords in the right hand with bass tones - but also fifths or all triads - the left hand and the accompanying form of the first stanza. The second companion form acts darker by their lower position. The bass of the left hand is moving and in shorter note values held as in the first verse, and sometimes brings its own descending figures in Sekundschritten. Based on the exchange of these two companion forms is often motivated by the text statement. Rather dramatic designs such as in " in the specular flood " are shown with block chords as used in " in the dying day gold vaults in the plains of the Stars" the easier acting accompanying form of verse one.
The third verse is similar to the second design. The different of the respective statement of contrasting passages adapted piano accompaniment is here particularly in the contrast of spots " rushing waves - and flutes Nightingales" clearly.
The fourth verse of the song stands out with chords in fourths or Half and isolated ascending triads initially clear from the foregoing from. For the listener a clear break in the hitherto rather triplet flowing curve is clearly audible. In the course but also the familiar verse from one and two accompanying formulas are applied again.
Text
The text is an early -romantic poem by Friedrich von Matthisson (1761-1831):
Lonely converts your friend in spring garden, Mild sweet magic of light float around, The quivers through swaying blossom branches, Adelaide! In the mirroring flood, in the snow of the Alps, In the dying day Goldgewölke, In the realm of the stars your image shines, Adelaide! Evening breezes whisper in the tender leaves, Silver bells of May in the grass rustle, Waves murmur and nightingales sing, Adelaide! Once, O wonder! shall bloom on my grave, A flower from the ashes of my heart. Significantly shimmers on every purple leaf: Adelaide!