Piano Sonata No. 24 (Beethoven)

Ludwig van Beethoven's Sonata No. 24 in F sharp major, Op 78 was created in 1809 and is the Countess Therese von Brunswick dedicated.

The Sonata is also Beethoven in the very rare key of F sharp major, which occurs a second time in his sonatas .. The performance period of the two-movement work is less than ten minutes, the first sentence more than twice as long as the second.

Construction

• First movement: Adagio cantabile, 2 /4 time; Allegro ma non troppo, 4/4, F-sharp major, 106 cycles
• Second movement: Allegro vivace in F sharp major, 2 /4 time, 183 strokes

First Set

The four-bar Adagio cantabile - introduction is a quiet one octave ascending Cantilena, which returns on cis- and B major back to F # minor; the bass is this harmonious running against a constant deep F # octave.

When after onset Allegro ma non troppo, the emphasis is obviously on ma non troppo; because it also begins with a quiet melody that reminds set and voice leading to Schubert, So in bars six to eight guided in chords and octaves of the right hand melody of the left hand is down in the middle and bass voice in the third interval " sung ". However, Beethoven leads this motif from discontinued; it closes suddenly a more animated passage in sixteenths and eighth ( clock 8 to 11) and after a short chordal episode a longer (measure 18-27 ) Reconciliation in troubled sixteenth notes of the right hand for the second topic. Also, this takes four cycles and consists of a moving Achteltriolenfigur for which Beethoven dolce prescribes. After the exposition ends with a combination of a short chordal accents widely and semiquavers. For the first time - with one exception in measure 17 - appear now forte and sforzando regulations.

In the implementation (measure 39-56 ) Beethoven takes twice briefly the first topic on - first in F sharp minor - then presents but ( from bar 45), only a short rhythmic motif of the left hand in alternating layers of a continuous semiquaver movement of the right hand over.

The recapitulation follows in sequence with some extensions - especially clock 66-76 - of exposure, it is followed by a brief coda to ( from bar 98) which receives the first issue again varying, but him in the left hand one to the end continuous Sechtzehntelfigur faces. Unusually, Beethoven wrote in this first sentence, the repetition of development and recapitulation before.

Second sentence

The second sentence provides a rhythmically stressed and characterized by dynamic contrasts chordal passage ( bars 1-11, 32-42, 89-99, 150-159 ) tempestuous sixteenth sequences compared to in which time and again both hands repetitive - so the same notes be used - Playing in the exchange. The coda ( from bar 160) is initially restricted to the incisive rhythmic second part of the first theme and closes after two ganztaktigen fermatas ( clock 175f ) and a rise of more than four octaves, with a brief return of the sixteenth sequences fortissimo. To join in this ( underrated ) set speed and clarity, strength and lightness, is very difficult.