Piano Sonata No. 25 (Beethoven)

Ludwig van Beethoven's Sonata No. 25 in G major, Op 79 was born in 1809. It is the only piece in the collection, which Beethoven himself described as " Sonatine ". The performance lasts about 10 minutes.

Construction

• First movement: Presto alla tedesca, G major, 3 /4 time, 201 strokes
• Second movement: Andante, in G minor, 9 /8 time, 34 cycles
• Third movement: Vivace, G major, 2 /4 time, 117 strokes

First Set

An almost continuous quaver movement characterizes this "German" in the sentence presto, which is still longer than the two following together. The first issue begins with four eighths octaves, representing the chord of the home key, it ends up in moving eighths of the right hand. A short transition leads chords of D major, B minor and dominant seventh to the second theme (start clock 24 ), simple double stops right hand are here to ascending and descending eighth-note scales the left. With the first interruption of the eighth notes in measure 45, the exposure tends to its end.

However, the performance ( clock 52-122 ) leads first to the first theme returns, this time in E major rather than G major. Influenced by translating the left hand, this section reaches a wide range of harmonic areas, namely E- flat major at measure 59, C major at bar 67, C minor at measure 83, E-flat major at measure 91 and D major at bar 111 Finally, in D major changes into a crescendo in the recapitulation as a dominant of the home key.

Here you can find some small compared with exposure harmonic changes (bars 134-144 ) to allow an end of the sentence in the tonic G major. Recapitulation and coda finally lead the pack in continuous motion at the end, for the last 11 bars of the movement, Beethoven wrote leggiermente dolce ago.

Second sentence

The set consists of three parts: a simple, in the right hand chordal guided and easy -eighths accompanied in his left hand melody is after a somewhat more agitated ( semiquavers in the left hand) E-flat middle section (bars 10-20 ) is repeated unchanged. In the coda ( from bar 30) which is now in octaves of the right hand guided melody combines with a borrowed from the central part semiquaver accompaniment, the movement ends in quiet two-handed chords in piano.

Third set

The rate is determined almost exclusively by a short, concise rhythmic motive: to an eighth note followed by the upper side tone and then the output sound as sixteenths. This dominance is only interrupted by a short C-major section (bars 51-66 ), which consisted exclusively of scales and - broken chords is - in his right hand. While the topic is initially accompanied by quarter notes, played by the left hand with his second eighth note triplets at measure 35. From bar 72 are then sixteenth notes that accompany the subject, and from measure 80, the melody is varied by triplet octave leaps.