Piano Sonata No. 2 (Beethoven)

Ludwig van Beethoven's Sonata No. 2 in A major, Op 2 No 2 was built in 1795. She is as dedicated to all the works published under Opus 2, Joseph Haydn, and was first performed in the same year in the presence of the composer Haydn.

Construction

  • First movement: Allegro vivace, A major, 2 /4 time, 336 strokes
  • Second movement: Largo appassionato, D major, 3/ 4 time, 80 bars
  • Third movement: Scherzo, Allegretto, in A major, 3 /4 time, 68 bars
  • Fourth sentence: Rondo Grazioso, 4 /4 time, 187 strokes

First Set

The first theme consists first of unison played motifs: a right octaved Quart jump down ( A - E) followed by a five-tone sequence downstream (E - A) in thirty-second; the same is repeated (A - F #; Fis - H). The subsequent dominant in the right octave neighborhoods - also down - followed by an ascending scale figure in eighths, which ends in a short downward movement. In the following this on ascending and descending characters are always opposite and contrasting, with the ascending sequence - if it occurs in sixteenth note triplets - already hints at the beginning of the fourth set. This is already the beginning of the transition to the second theme, which begins in measure 58: it begins in E minor and is not only in his " dazzling harmonies " a sharp contrast to the first topic. Shortly thereafter, returns the first motif, in sharp contrast fortissimo, pianissimo. After an eight-bar transition (cycle 84 to 91 ) - ascending and descending semiquavers in fortissimo, ganztaktige sforzando chords - appears once another motif of the first theme: the ascending sixteenth-note triplets. After exposure fades away in pianissimo.

Second sentence

The sentence is almost continuously from " passionate - tense, deeply serious mood ". A quiet progressing melody in neighborhoods - set chords - is accompanied by a first set staccato bass line in eighths. After a brief reconciliation, the issue appears again, but now increased to fortissimo. An intermediate episode (bars 20 to 31 ) initially interrupts the quiet movement of the left hand, but takes it to the end again ( from bar 26). After that, repeated the first part of the two-time Presentation of the topic.

After a peaceful reconciliation of the movement concludes with the sudden fortissimo onset of the main theme in a minor key ( bar 58 ), which extends over three full grip compound chords in the F- dominant surprising to B - flat major uses (bar 60 ff). The beginning of the sentence rather measured border accompaniment of the left hand " stomps " now off and ascending octaves. However, this brief outbreak already ends in measure 64, the block is performed with the resumption of the main theme in the pianissimo at the end, a new passing to middle voice in sixteenth notes deepens the decreasing voltage.

Third set

The set consists of three parts: the two existing to repeat parts Allegretto ( position 1 to 44) followed by an existing well from two to repetitive parts Minore whereupon again the Allegretto sound.

The Allegretto first presents little more than the A- major chord and E major seventh chord, dissolved in the right hand semiquavers in the left than chord in different positions. According to this idea achtaktigen alternate clock hands 9 their role and beat from bar 11 also harmoniously new ways: via C # major, F sharp minor and D sharp major, appears after a fortissimo increase suddenly a simple theme in G sharp minor, in piano and quiet eighths of the left hand accompanied (cycle 19 to 25 ). After a brief reconciliation a repeat of the opening bars, then connect two fortissimo chords this first section.

The Minore is in A minor and depends on both the material and the set forth very simply: the right hand processed a descending motif consisting of three quarters, the left accompanied with continuous conventional -eighth figures. Some break sforzando accents the otherwise held in the piano course, the section ends, however, fortissimo, enhanced by full -grip chords of the right hand.

Fourth proposition

The Rondo consists of the chorus, which is published five times (bars 1-16, 41-56, 100-115, 135-158 and 173-187 ) and the intervening couplets made ​​. The chorus in his more conventional melodic structure begins with a multi-octave ascending, distributed on both hands broken chord, followed by a sudden " crash " over nearly two octaves, whereupon suddenly uses the chorus topic - " as if nothing unusual happened."

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