Piano Sonata No. 12 (Beethoven)

Ludwig van Beethoven's Piano Sonata No. 12, Op 26 in A Flat Major arose around the turn of the century in the same period as the work on the First Symphony. Beethoven dedicated to Prince Karl von Lichnowsky. Stand the previous Piano Sonata op 22 (No. 11) was largely attributed to classical structure, so now add three very experimental Sonatas (this and Op 27). Beethoven represents formal principles on the head and surprised with unprecedented.

Construction

• First movement: Andante con Variazioni, A flat major, 3 /8 time, 219 strokes
• Second movement: Scherzo, Allegro molto, A flat major, 3 /4 time, 96 bars
• Third set: Marcia Funèbre, A flat minor, 4/ 4 time, 75 bars
• Fourth movement: Allegro, A flat major, 2 /4 time, 169 strokes

First Set

Quite uncommon begins Beethoven 's Sonata with a set of variations ( although Mozart had already done this in his famous A- major sonata ). The theme is in three parts and contrasts supported eighth with smaller, dotted rhythms and embellishments. In the following five variations Beethoven used very contrasting techniques - sometimes he adds small runs, then the issue is heard in alternating chords, then moved rhythmically, once transposed, even after flat minor and distorted by dissonant suspensions and finally in the last variation in Zweiunddreißigstelfiguren dissolved.

Second sentence

The Scherzo is Beethoven's replacement for the until then used Menuetto. A typical set of Beethoven full sforzandi and sudden change especially in the dynamics.

Third set

This sentence is a little secret. A funeral march only occurs at this point in Beethoven's piano works, additionally there is that Beethoven quite unique appends an additional set of headline here: " sulla morte d'un Eroe " (on the death of a hero ). Whether in fact this hero existed ( it was the comparison to the funeral march of the Third Symphony dared, which was originally dedicated to Beethoven at times revered Napoleon ) or whether this march more commonly referred to the type of the " hero" who just introduced by the French Revolution had become popular, can no longer be clearly clarified. In contrast to the dark and highly serious pathos of the funeral march in the third symphony this funeral march a little seems quite " theatrical, " it is more a kind of played or shown mourning.

According to the title of the set of dotted note values ​​is characterized, in a trio you can then make up imitated by the piano, drums and fanfares.

Fourth proposition

The rate is based on a third - sixths change in sixteenth chains. He is remarkably short ( Friedrich Gulda needed in his recording of the sonatas in 1967 less than 2 ½ minutes) and comes right " way etude " therefore. Formally, the movement is a rondo; However, as so often in Beethoven, characters are also found here a discussion of the sonata form. As a contrast to the written funeral march, this sentence is clear and strong. Pianissimo it ends in a contented murmur.