Piano Sonata No. 13 (Beethoven)

Dedicated to the Duchess Josephine von Liechtenstein, the Piano Sonata No. 13, the first of two sonatas of Ludwig van Beethoven compiled in Op 27.

Structure

Beethoven has given the subtitle Sonata quasi una fantasia two sonatas. Unlike the C-sharp minor sonata in E flat major Sonata has no formal records; their rate similar parts shall attacca into one another.

Input sentence

The simple Tonikamotiv in the first reply sixteenth runs in the second half of the measure - Allabreve also in the andante anything but sedate. The three parts of the first falling, then rising chord theme are repeated three times in four bars. What's in the silent question - and -answer session, indicates the same length, but not repeated sequence section. It starts in C major, the bright variant of the parallel key of C minor. Kept quiet all day, it accelerates the topic in eighths. So quite surprisingly the furious C major center part then does not. About full basic chords in the bass drive flashing runs their game with the dominant G major. The dominant seventh chord is followed by a silent again quote from the input motif with an enchanting conclusion.

Scherzo

A fine copy without spukhaftes same is the C minor part. With the basics of harmony Beethoven drives a demonic game. Opposing and syncopated chords basic, quiet and cyclically bound, scurrying over. In perhaps the most touching scene of the 1994 film 32 Short Films About Glenn Gould Glenn Gould hears in his hotel room recording this " Scherzo ". The cleaning lady comes in, stops and listens with fascination. "Fine ," she says, smiling.

Adagio

As in the early C minor Sonatas Op 10 and Op 13 Adagio cantabile is this in A flat major, which can be seen as an introduction to the final movement. Round and quietly sings the theme on bass octaves. Accelerated in syncope, it ends pianissimo after a three-bar trill cadence on a simple ace, the subdominant of the long final movement.

Concluding sentence

The carefree virtuoso piece starts with " humor in the upper and Grimm in the lower voice ." Turned in the middle section in G flat major, it does not take on the dominant theme for Adagio back, now in the "female" A-flat major, but in the " male " in E flat major. With almost a clean sweep is the "Fantasy " at the end.