Piano Sonata No. 28 (Beethoven)

Ludwig van Beethoven's Piano Sonata No. 28 in A major, Op 101 was built from 1813 to 1816 and was published in Vienna in 1817. It is dedicated to the Beethoven pupil Dorothea of ​​Ertmann.

She refuses, like all late sonatas of Beethoven, the usual for this genus formal conventions. As mentioned in the Sonata Op 90 the composer used German expression marks, under which he sets the conventional Italian. The performance lasts about 23 minutes.

Construction

First Set

Something lively and with heartfelt emotion is a very lyrical, formal blurred sonata. It starts rather than in A Major on the dominant, the actual tonal center remains in the further course. The rate remains almost entirely in the initial sensitive peacefulness, just the end of the recapitulation with the fortissimo chords in violent dissonance already point to the conflicts of the second set.

Second sentence

This is vivid. March default ( Vivace alla marcia ) is overwritten, is in remote, großterzverwandten F major. Beethoven String Quartet used here -like compositional techniques, despite the quite wild and uncontrolled figures of the march just cuts off in a piano. The main part is connected a canon -like trio, which is not referred to as such, and is a little sonata in itself. After the repetition of the main part of the slow third movement, which is also introduction to the finale follows.

Third set

Slowly and longing is the third movement, many artists here vermeinen baroque echoes of George Frideric Handel and Johann Sebastian Bach heard. After deliquescence chromatic harmonies all at the end of the short episode is the " memory" of the first set, but after a few bars ends in an accelerando, then presto, and three fermata trill. Under these trills then the downward Terzsprung as an announcement of the Allegro ( Geschwinde, but not too much, but with determination ).

Fourth proposition

The final turn is in A Major, is in sonata form and used throughout polyphonic composition techniques. The implementation constitutes a fugal, which is among the most advanced sections of Beethoven's pianism, and is perhaps surpassed only by the joint final of the Hammerklavier Sonata of difficulty. The set is also characterized by particular difficulty in the treatment of the instrument from (piano, ma espressivo in the deepest bass, Quart runs in one hand, trills and melody in one hand). The movement ends after a long pianissimo coda with deep, warbling sixteenth notes, in a furious A- major chord two-strokes.