Piano Sonata No. 17 (Beethoven)
Ludwig van Beethoven's Piano Sonata No. 17 in D minor, Op 31, No. 2 ( The Tempest ) was built between 1801 and 1802 and beginning of 1802 must be near completion have been, because on April 22, 1802 Beethoven's brother Karl offered them the publisher to Breitkopf & Härtel. This led to a heated argument between the brothers, as Beethoven had already promised the publisher Nageli in Zurich. The name The storm is based on an alleged, alleged by Beethoven biographer Anton Felix Schindler expression of the composer who brings the Sonata with William Shakespeare's play The Tempest in conjunction. Among pianists, this name has naturalized.
Construction
- First movement: Largo / Allegro, in D minor, alla breve, 228 cycles
- Second movement: Adagio in B flat major, 3 /4 time, 103 strokes
- Third movement: Allegretto, in D minor, 3/ 8 time, 399 strokes
First Set
The set begins with an arpeggiated A major chord: Largo and pianissimo, after the fermata in the second clock responds an allegro passage in the home key, which is but stopped again already in clock 6: Adagio, and again on a sforzando follows a fermata: piano in A major. The arpeggio chord appears as in a second attempt it again: Largo and pianissimo and in a fermata ending, but this time in C major. This rate will " ride on ": a beginning in F major transition leads to the first theme in D minor ( bar 21 ). A simple ascending bass triad motif in the forte, which is answered by the sound "A " orbiting figure in the piano in the treble, accompanied by restless quaver triplets. The second theme is followed by a very short transfer to clock 41 and is in A minor, but uses on the E major dominant. It reminds in its structure to the passages of the introduction, which followed the arpeggiated chords Largo. The sentence ending (measure 52-92 ) begins by a minor and B flat against each other and then forwards with an ascending from the deep bass quaver figure after a minor back ( from bar 74). The exhibition concludes with a written-out fermata on a triple octave non-harmonized A in the bass.
The development begins with three arpeggiated chords again Largo and pianissimo, followed by the processing of the first theme in fortissimo, repeatedly interrupted by sforzando accents. From bar 121 follows an excited manifestation of the A-major chord, with a fortissimo chord (measure 133) ends.
Analysis of exposure
Many authors only see bar 21 as the beginning of exposure. Bar 41 ff they considered a second exposure issue. The first 20 bars are after this release regarding the launch. They refer to the beginning of the sentence in the dominant A major instead of the usual tonic ( D minor ), as well as the harmonic instability of the clocks 1 - 21 Daniel Barenboim refers to the first two bars of the sonata as " intrusion of the unreal, similar to the appearance of the Commendatore in Mozart's Don Giovanni. "
In contrast, show Richard Rosenberg and Jürgen Uhde that the two dualistic elements of exposure begin in contrast of bars 1-2 and 2-6. Clock 1 and 2 brings one arpeggiated chord of the sixth, as well as three individual chord tones, while clock 2-6 is based on a descending scale with repeated notes. The contrast between the slow chord refraction and moving barrel ( hereinafter referred to as Part I and II) is clearly noticeable, and is also represented by Beethoven by the tempo markings Largo and Allegro. The dynamics emphasizes this contrast. While Part I has a constant momentum (pp), passes through part II a rising and falling volume arc (p - Crescendo - sf - decrescendo - p). This can be done (even in the course of the movement ) as a dialogue and an exchange of words - interpret, or as action and reaction - with Part I and Part II, the objective represents the subjective. The clocks 7-20 initially lean on this model: an arpeggiated chord ( Largo ) follows a moving -eighth session in the Allegro, but the sequence now begins in C major, the dominant of the major parallel F major and the quaver movement (initially in F major ) follows only initially modeled on the bars 2-6: the first falling figure rises already in bar 9 in ever increasing intervals up and finally reaches the octave in measure 12, where the left hand diminished chords on the beats 2 and 4 interjects. In bar 13 then begins the descent, the top notes of the figure now form the chord of the home key of D minor.
21-40 clock accesses the opposites, and developed them away. The triad tones of Part I now appear respectively in the bass, and will be answered by a Part II continued leading Sekundfigur the right hand. This answer of Part II is reduced from bar 30 to a single tone, which, however, due to its remote pitch gets significant weight. A new rhythmic flow caused by the triplet of the middle voice.
An incision is on the clock 41, dar. interpreted by many as a second exposure subject material It is rhythmically defined by its quaver movement of the preceding triplet. Nevertheless, here are the basic elements of the sentence beginning - chord and Sekundbewegung - detectable.
Second sentence
The Adagio begins like the first set with an arpeggiated chord in the lower register, answered by a short motif in the treble. From bar 17 is followed by a chordal designed by the right hand theme accompanied by tremolo octaves of the left hand in the deep bass and across the treble. After a brief interlude (bars 31-37 ) in F major, the motif of tremolo octaves is resumed in the deep bass, the music solidifies harmoniously on the F major dominant with minor ninth (cycle 38-41 ). A short sforzando outbreak (cycle 42) leads back to the first theme.
Third set
The final Allegretto is - once the score makes this clear - characterized by a low-contrast continuous sixteenth motor skills. The connection to the previous records can be seen in the figures of the left hand, the display at the beginning arpeggierende chords.
Reception
" This sonata is perfect. The unity of the idea and the tragic character who, disturbed by no episode art form, the Romantic - picturesque of the whole Tongemäldes will never fail to make the greatest impact when the imagination of the player stands on the same high level with his workmanship. "
Carl Czerny was a pupil of Beethoven. In his book he gives practical performance instructions, provide insights into how his or even Beethoven's own sonic interpretation might have looked.
Swell
Sketches:
- Archives of the Society of Friends of Music in Vienna, A 34, Sketchbook Kessler
- State M. I. Glinka Central Museum of Musical Culture Moscow, Sketchbook Wielhorsky
- Autograph: Whereabouts unknown
- First printing: Zurich 1803 ( H. G. Naegeli )