Piano Sonata No. 30 (Beethoven)

The Piano Sonata No. 30, Op 109 in E Major from 1820 is the third to last of Ludwig van Beethoven's piano sonatas. After the huge Hammerklavier sonata, Op 106 he returned, long deaf to smaller dimensions and with it a more intimate character back. The sonata is dedicated Maximiliane Brentano, daughter of Beethoven's longtime friend Antonie Brentano. For them, Beethoven had already in 1812 the Little Piano Trio in B flat major WoO 39 composed.

Musically, the three-movement work is characterized by a free use of the traditional sonata form. His focus is on the third set, a complex set of variations as in Op 111

  • 2.1 Beethoven's last sonatas
  • 2.2 General characteristics
  • 2.3 Key
  • 2.4 Deviations from the standard model
  • 3.1 First Set
  • 3.2 Second Set
  • 3.3 Third set 3.3.1 topic
  • 3.3.2 Variation 1
  • 3.3.3 Variation 2
  • 3.3.4 Variation 3
  • 3.3.5 Variation 4
  • 3.3.6 Variation 5 (Allegro ma non troppo )
  • 3.3.7 Variation 6
  • 4.1 tempo and expression statements
  • 4.2 piano sound
  • 5.1 Contemporary Reception
  • 5.2 Initial performances
  • 5.3 Today's interpretations
  • 6.1 sketches
  • 6.2 Autograph
  • 8.1 notes

Genesis

The compositional beginnings of Opus 109, up in the first few months of the year trace back in 1820. They went Beethoven's negotiations with Adolf Schlesinger, the publisher of his last three sonatas advance. In more recent research is believed that Frederick Strong Beethoven had asked to write an article for his piano anthology Viennese pianoforte school. Beethoven had interrupted the work on the Missa Solemnis. Finally, he offered Strong then, however, the Bagatelles, Op 119, No. 7-11 of.

Speculation

In Beethoven's conversation book describes a " small new piece" in April, which is identical with the Vivace of the first movement of Op 109 by William Meredith. In fact, the system of the sentence makes the thought of a broken of fantasy -like interludes Bagatelle " appear quite possible." Beethoven's secretary Franz Oliva Beethoven then proposed to use this " little piece " as the beginning of the piano sonatas desired by Schlesinger. As of July 9 Beethoven relatively quickly composed the other two sets. Sieghard Brandenburg has been suggested that Beethoven had originally planned a two-movement sonata without the first set. Some of connecting the first set with the other sets of motif characteristics were apparently integrated later. Alexander Wheelock Thayer, however, takes the view that the beginning was not further developed into a Sonata in E minor by Beethoven and had nothing to do with op 109.

For the third movement of Beethoven sketched by Artaria 195 first six variations with subsequent recurrence of the theme, later apparently he was planning a series of nine variations with no recurrence of the theme. However, these are not numbered consecutively and placed within another, fragmentary drafts. The difference in the individual character of each variation seems to be lower than in the final print version in this version, but indicated by Kay Dreyfus forward to a " process of exploration and rediscovery of the topic in the development stage " out.

Pressure

It is not entirely clear whether Beethoven has completed the sonata in the fall of 1820 or until 1821. In letters to his publisher is indeed already in 1820 by " completion " is mentioned; however, it is unclear whether Beethoven hereby ready-made concepts, designs, or a fair copy absendfähige said. The first edition was published by Schlesinger in Berlin in November 1821. It contained numerous errors because Beethoven was unable because of illness, sufficient proof read. The sonata is dedicated Maximiliane Brentano, the musically gifted daughter of Franz and Antonie Brentano. She was possibly the so-called " Immortal Beloved ", his love letters taught from 1812 to the Beethoven. The date of the first performance is unknown.

General classification

Opus 109 is particularly in regard to Beethoven's late work, and here specifically its different again mounted last piano sonatas, their deviations from the standard model of sonata form, to consider its harmonic, formal and other novelties or musical revolutions, as well as their more gesänftigten character.

Beethoven's last sonatas

Opus 109 belongs to a group of three, five or six last sonatas of Beethoven, which are part of his late work. The different classification is because the sonatas are formally and on the prevailing musical trends in them from op 90 diverse and contradictory. The pianistic means to be simple, reduced chamber music acting Two voices - or brought in recitative -designed games to " silence ", as in the third movement of the same work - as in the first movement of Op 110. This method contrasts with increased virtuosity and expansion of the form and also the total length, as in the Hammerklavier Sonata Op 106 The recollection of the simple style of the early reminiscent of Haydn sonatas (Op. 109) is sometimes a " harsh and 20th century music ahead participating, sometimes shaped by dissonance harmony over ". It is particularly important to the principles of the polyphonic variation, as in the second movement of Op 109, and the associated recourse to Baroque forms, especially of the joint or fugatos. Extreme bass and treble able tensions between a dissolution process into smaller and smaller note values ​​( as in the sixth variation of Op 109), and the resolution in sound surfaces of long trills ( var. six Op 109 and Op 111), arpeggios, ostinatos and tremolos are gaining importance.

General features

Opus 109 impresses with its intimate, less dramatic character and is distinguished by special " lyricism ", " melodic and harmonic beauty " and Chopin apparently " premonitory " garlands and arabesques. As in many later works of Beethoven set a cross- interval is also significant in this sonata. Here it is the most consonant interval of the third. The shift in emphasis towards the finale she shares, as well as the resolution in " pure sound " and the use of older, baroque forms, with other late Beethoven sonatas. Certain similarities to the beginning of the Piano Sonata, Op 101 are available.

Key

About the character of the individual keys was much speculation in the course of musical history and a philosophy. Often has also been questioned whether the keys at all assigned meaning.

But just in the last three piano sonatas, which may be considered as a pianist résumé of Beethoven 's thought world in a certain way, the choice of keys is certainly not a coincidence but well thought out.

This becomes clear when one recalls the role of the keys in Beethoven's only opera, Fidelio. C minor and C major are there for the good and evil, tyranny and freedom, for darkness and light, even for hell and heaven. As in the opera, or even in it's 5th Symphony selects Beethoven in his last sonata, Op 111, these two keys to proclaim once more his motto " through night to light ", in the sense of a call to humanity, to defeat the evil in the world and to create a world that "all men brothers " are in the. The dedication of this sonata to Archduke Rudolph may even include the direct appeal to a political authority to engage in a liberation movement.

A flat major is in the opera the key of the shaft end in prison, Florestan, presumably with the Beethoven identified in the A flat major Sonata, Op 110. This is absolutely imperative suggested by the simple fact that this sonata bears the only no dedication, so completely remaining in Beethoven's possession is concerned with its own best interior.

E major is finally in the opera the key of Leonore, who in increases in E major part of their great aria in heroic pathos of loving self-sacrifice. The idea of ​​salvation through the " eternal feminine " (Goethe) certainly also reflected in the mysterious " Immortal Beloved" by Beethoven. Against this background, it can hardly be a coincidence that the Sonata Op 109, which is the "Miss Maximiliana Brentano dedicated ", is in the key of E major.

Deviations from the standard model

Opus 109 differs in several respects from the "standard model" of the sonata. The work seems despite formal three movements rather on a " balanced two-movement ' " to be based. Here, the first set is connected by overhanging pedal with the scherzo prestissimo. The internal design of the first set is based on less processing than on the contrasting juxtaposition of fast and slow, piano and forte, as well as major and minor. In this case, the second sentence shall not rather the function of actually the first Sentence thought sonata form. The third movement is then in the - created the form of theme and variations - the Sonata really strange. The topic of the third movement takes on the role of the slow movement, which is usually in second place in the standard model of the sonata. Although the Sonata is in three movements formally, it is called a two movements because of the transition between the first and second set without a break, and the strong determination of the third variation movement in some music leaders or on audio recordings. However, the musicologist Jürgen Uhde, Richard Rosenberg, Udo Zilkens and Carl Dahlhaus divide the work in their detailed analysis in three sets.

Musical Analysis

The three movements of the Piano Sonata No. 30 read:

  • Vivace ma non troppo / Adagio espressivo, E Major, 2/4-cycle
  • Prestissimo, E minor, 6/8-measure
  • Full song with heartfelt sentiment, E Major, 3/4-time

The performance lasts about 20 minutes, of which occupies the slow third more than half. Overall, the Sonata is characterized by a rich and interesting melodies, complex harmonies.

First Set

The first set reflects the strong interest which Beethoven developed during this creative period of structures, which are parenthetically enclosed by contrasting sections. The same tendency can be observed in almost simultaneously resulting Missa Solemnis and the op to 109 following piano sonatas. A lyrical and moving Durabschnitt in piano and Vivace tempo is set against a fantasy -like, marked by dramatic Adagio in minor arpeggios and forte ( T. 9-15) after only eight bars. Also seen purely harmonic of the contrast between the two parts is to work out hardly clear with clear major in the first part and the extremely strained diminished sevenths.

Clock eight leads are not in the sonata form to forward line to a new group of topics usual cadence on the dominant B major and completely. The bars 9-15 avoid the cadenza, which takes place only in clock 15. B1 - - A2 - B2 - It the first sentence of the form A1 scheme seems justified to give (A B). Charles Rosen and others interpret the first set but in the sense of sonata form. You see this in A1 and B1, the first and second theme of the exposition realized, A2 and B2 be regarded as implementation, and (A B) as a coda. However, this analysis contradicts the fact that there is no real recapitulation of konstatierten exposure in the first sentence.

Although Richard Rosenberg stated the threefold of the sonata form, but can not find any sonata contemporary topics - duality within the exposure itself. He looks more like a correspondence between the upper voices of Vivace and Adagio, and the bass voice of the Vivace (E - Dis - Cis - H - A - G # - H - E) and the middle voice of the left hand of the Adagio (Dis - E - F # - Gis - A - C # - Dis - e).

Form part A2 ( T. 22-57 ) passes through relatively quickly distant keys. Although this is typical for bushings, it seems questionable whether the increase over the successive, more than two-octaves increase in the peak tone of each measure of gk1 ( T. 26 ) to H3 (from bar 42) can be interpreted only as of the theme. B2 is not a simple transposition of B1 dar. The section is partially, especially from bar 63, a different design and additionally results in the extremely remote key of C major. In unison passage of clock 63-66 mentioned the importance of the third was again obvious.

The fifth sub-section ( roses for the coda ) then synthesizes the parts A and B. This clock represents 66-74 Section A, while 75-85 clock, with its blocky chord structures Section B - without whose garlands - represents. By repeatedly falling step Cis - H (later C - H) is simultaneously a bridge to subsequent Prestissimo built, in which the same large and small Sekundschritt also retains significant importance in clock 89-92.

Jürgen Uhde and Richard Rosenberg see certain similarities between the vivaces the Piano Sonatas Op 79 and Op 109

Second sentence

The stormy E minor Prestissimo was already considered one of the most Prestissimi sang Beethoven. The first, consisting mainly of sharply rising triad tones topic ( T. 1-8) - as in the first movement - supported by a gradual falling bass and clock 9-24 continued in free form. The clocks 25-32 modulate with a unison onset episode to the second theme (from bar 33) in the dominant B minor; this key is of course only T. 41/42 really reached ( and left immediately ), previously keeps the issue on the Doppeldominantseptklang. The second issue takes as its starting of a reversal of the sequenced motif from bar 9 /10; the usual contrast between the first and second theme here is so completely veiled. The final group ( T. 43-65 ) confirmed after further modulations of the dominant key of B minor by a cadence. A recapitulation of the first theme in B minor (mm. 66-69 ) leads to extremely short implementation ( T. 70-104 ), which only the descending bass line of the first theme in different techniques canon processed ( enggeführte imitation and inversion). A tremolo pedal point leads on to a calming, this leads to a fermata, after surprisingly nothing new is coming, but the implementation in the character is unchanged out something; only eight bars later sets completely unexpectedly after a pianissimo F sharp major ( the double dominants to the home key ) the recapitulation in E minor one (from bar 105). In the first topic upper and lower voice are reversed; in the rest of the recapitulation as the exposure runs exactly from, apart from slight changes in the proportions: T. 9-24 have no equivalent in the recapitulation, but are 120-131 and 132-143 in comparison to their counterparts in the exposure to each four bars extended. The second theme (mm. 132-143 ) is now in the tonic. The final cadenza leads into a short, energetically from piano to fortissimo chords, enhancing coda.

Third set

This consists of a theme with piano in character and technically different variations.

Topic

The chant full topic has with his dotting and emphasizing the second beat of a sarabande- like character. The " graceful, pensive expression is reinforced by the emphasis on the root note E". This is driven in bars 1 and 3 through the descending third and later by others, harmonious strained tere intervals as the descending fifth in bar 5 and the sixth in bar 7. The first two measures are present in the first 8 cycles in variants. Bars 1-2 and 5-6, and 3-4 and 7-8 are based on two common basic series G # - E - Dis - H, and G # - E - F # - Ais - H.

The bass increases in measures 1-4 up at half octaves and thus forms a contrast to the bass of the first two sets as well as on the subject, which moves in a relatively narrow range. Clock 9-16 lead the theme continues on the dominant H. The accompaniment is hereby extended from single tones to two and three sounds and thus leads into the full grip accompanying form of variation 1.

Variation 1

This keeps the pace of the topic. It is in contrast to the quartet set the theme set rather moderate piano. The melody, however, is moved by one octave above. It works using a passionate and moving, and has the form of a " ceremonial waltz " With their accompanying formulas of the left hand, the " garlands " (eg in clock 3) and the differentiated dynamics she recalls, particularly in the left hand, already at some later compositions Frederic Chopin or Debussy's Prelude Danseuses de Delphe.

Variation 2

The second variation suggests at a faster pace. They can in Sections A - B - A ' - B - A' members. The first section (bars 1-8) reminds prominently situated at the Vivace of the first set. The short section B (cycle 9-12) stressed then in eighths repetierten chords in the left hand again strongly the interval of the third. This is also highlighted in each case by a trill. A ' (cycle 13-24 ) transmits the rhythmic pattern of clock 1-8 on block chords that alternate between left and right hands; from bar 17 the pattern A is used in extremely elevated position. After a repetition of B (cycle 17-20 ) on the Dominant stage decides A ' variation.

Variation 3

From Variation 3 of the piano writing is increasingly contrapuntal compacted. The signatures of the initial 3/4-Taktes frequently change (2/ 4, 9 /8). Variation three is strongly reminiscent of a two -part invention of Johann Sebastian Bach. A four-bar, mainly constructed on thirds topic is accompanied by a sequenced sixteenth-note figure. In measures 5-8, the documents are now in the bass with the theme appearing then reversed in 9-16 clock, this model is maintained by the use of ascending seconds. The coined by continuous semiquavers character of the variation is also maintained here using Oktavgriffen in the other hand.

Variation 4

Variation 4 is based at the start on the imitative use of four successively in different registers ( records of the piano ) onset of votes. The structure and tonal density is thus over the two-part variation of 3 naturally increased. However, starting in measure 6, the strict baroque model is interpreted and increasingly free to leave. The pace is set back slightly from the previous variation. From bar 11 to the end of the variation dominates again chordal Put manner with emphasis on the high notes and a final arpeggio ( T. 14-18) the variation. Significantly, Beethoven doing in sections rather baroque held significantly less dynamic statements and differentiations in clock 11-17.

Variation 5 (Allegro ma non troppo )

After Variation 4 Beethoven leaves the name variation a, b, c, ..., and provides the following sections only general tempo markings such as " Allegro ma non troppo " or "tempo primo del tema ( pace of the first theme ) " before it. The reasons for this are unclear. Nevertheless, it has prevailed in musicology, to designate these parts as Variation 5 or 5 and 6.

The rhythmic energy permeated Variation 5 realized, at least initially, the strict model of a complex, multi -part chorale -like fugue. It can thus be considered as polyphonic climax of the sequence of variations. But as early as clock 9 will leave rigor favor by running sixteenth of the left and right hands in extreme situations the " scholastic ". Chords and Terzgriffe increasingly replacing the initially almost purely contrapuntal structure from clock 16. Towards the end of the variation then contrast high top notes with trills in the middle position and deep bass lines.

Variation 6

On top of this variation is - in contrast to extreme energy and emotion of the previous one - one of Beethoven " cantabile " designated four bars in the piano and pace of the original theme (tempo primo del tema ) in slow areas.

Your static and quiet character is emphasized by the insistence on the highest note H. At the conclusion of the sonata Beethoven intensified in the following almost all musical parameters to the utmost. The note values ​​are rhythmically intensifying of neighborhoods over eighth, eighth note triplets, sixteenth, up to thirty-second over. Able default, this section is enhanced by a divergence of extremely high, striking top notes and deep bass tones. These occur as a further enhancement feature from bar 12 long-drawn trills in both hands and from bar 17 frantic arpeggios and sequences of the upper voice. The last 16 cycles repeat - as if nothing had happened - the simple opening theme.

Set Cross- elements

Some musicologists see in the first and second set already motifs, scale clippings, rhythmic models and typical phrases indicated that are realized only in the third set. Jürgen Uhde sees about the sentences one and two not as full " on its own existing form of entity." Instead, " they announced, often in secret or in paraphrases, already the subject of the third set as the ultimate goal of the entire sonata. " To be in detail the similarities between the first and third sentence shown in the notation example constructible. Also, between the second and third set looks Uhde parallels. Richard Rosenberg focuses his " reductions " increasingly on the similarities of the individual movements underlying bass and middle voices. Based on the notation shown in the chapter on the first set, it reduces the bass curves of the individual sentences, abschreitendes on a key in seconds, and scream Tendes in thirds at the end of the basic model (see Note example).

This - at Heinrich Schenker determine a means of reduction analysis reminiscent Ursatzes method - but is often only means of several simplifications and eliminations not matching tones and elements possible. Hineinzudeuten parallels At the risk related to each other in little portions by over-interpretation, Uhde and others point out often.

The interpretations of Heinrich Schenker to Beethoven's works in about Beethoven - the last sonatas are probably to offer thoroughness hardly.

Carl Dahlhaus also sees - even though he, however, the primordial cells - theory faces critical - especially in the bass figures of the first two sets of cross-block elements in a " set overarching thematic - or subthematischen nexus " realized.

Realizations

In terms of sound, dynamic, fast- even, and agogical realization of Op 109 many questions must remain unanswered, although Beethoven further advanced the more precise definition of execution parameters, as opposed to Haydn or Mozart.

Tempo and expression statements

The installation instructions were from Op 90 - partly in Italian and German - increasingly differentiated and specified in more detail with previously unusual expression markings. Beethoven was increasingly dissatisfied with the vague tempo indications and advocated increasingly more accurate information for the new Mälzelschen metronome.

Nevertheless, the Hammerklavier Sonata is the only sonata in which Beethoven was sent by the publisher exact Metronomisierungen.

Handed down tempos of Carl Czerny and Moscheles were: 100 and 112 for the Vivace and 66 and 72 for the Adagio. Prestissimo and variations set were taken from both tempo-wise approximately equal.

Piano sound

After Beethoven harpsichord and clavichord, later pianos by Johann Andreas Stein and Anton Walter and from 1803 used a wing of Erard, he got in 1818 an English Broadwood grand piano with improved sound volume, stronger bass, lighter touch and better paid -sounding tone in the treble. There is strong evidence that he in his late work from Opus 90 this instrumental technical advantages - particularly in the juxtaposition of extremely deep bass and high Diskantlagen and the frequent use of trills - increasingly used.

Interpretations

Opus 109 has experienced many intra - and extra-musical, part lyrical excessive, interpretations over time.

Contemporary reception

Responses to Op 109 Beethoven's lifetime were overwhelmingly positive and based mainly on the technical mastery and melodic ingenuity of the work. So picked up the newspaper for theater and music in 1821 especially against the classicism Op 106 out:

The general musical newspaper from Leipzig wrote in 1824:

The "highly singable, very delicate and lovely melody of the Andante " as well as the skill of the variations will be highlighted:

Adolf Bernhard Marx, one of the most respected musicologist of the 19th century, stated in 1824 the " exchange between präludiumsartigen parts in the Vivace - sections and the Adagio", and criticized, however:

For the Prestissimo and the Andante he found but words of praise.

First performances

The first pianists who made ​​it their task to the last Beethoven sonatas - and therefore, Op 109 - almost bring the audience were, Franz Liszt, who regularly took 1830-1840 in his program, and Hans von Bülow, who even several the late sonatas recited in one evening.

Today's interpretations

The well-known pianist and author Paul Badura- Skoda writes specifically about Opus 109:

The music critic Joachim Kaiser writes about Opus 109 on the one hand:

On the other hand, he points out the contrast to the more dramatic and excessive neighbors Op. 106, 110, and 111:

The pianist Anton Kuerti writes:

About the third set, he writes:

Swell

Sketches

State Library of Prussian Cultural Heritage Foundation in Berlin: Artaria 195 and 197

Berlin State Library: Grasnick 20b and conversation books band 11 ( early April to something April 14, 1820 ) fol. 76 KH Koehler and D. Beck Ludwig van Beethoven's conversation books, Volume II, p 56 and p 81 Fig ago

Beethoven -Haus Bonn: BH 107

Society of Friends of Music in Vienna: A 47

Autograph

Library of Congress Washington.

Society of Friends of Music Vienna ( verified copy )

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