Piano Sonata No. 32 (Beethoven)

The Piano Sonata No. 32 in C minor, op 111 is Beethoven's last piano sonata.

As the two Light Sonatas op 49, op 54, op 78 and op 90 it has only two sentences. Their performance lasts around 10 minutes for the first and almost 20 minutes for the second set.

Genesis

The last three piano sonatas of Beethoven, Op 109, Op 110 and Op 111, were as a large complex planned and so all three sold together at the Berlin publisher Adolph Martin Schlesinger in 1820. However, there were delays between the E major Sonata and the last two - Beethoven was plagued by disease, also employed him to work on the Missa Solemnis and the cycle Bagatelle op 119

The end of 1821 Beethoven began work on the Sonata in C minor (No. 32). The themes of the sonata Beethoven have as so often employed for decades, some should have been found as early as 1801 input into other works. Fairly quickly then was the first manuscript on January 13, 1822 - three weeks after completion of the A flat major Sonata. In the spring of the same year Beethoven sent the first version to Berlin, but soon afterwards he wanted to make changes, there were delays. It was only in April 1822 moved Maurice Schlesinger, the son of Adolph Martin Schlesinger, the Sonata in Paris, but with so many errors that Beethoven Anton Diabelli asked to bring out a corrected edition.

Dedication

Even the dedication story is somewhat confusing - at first it turned Beethoven to his publisher free, whom the Sonata should be appropriated ( " whom they want "). Presently (June 1823), possibly as an excuse for procrastination of the Missa Solemnis, Beethoven dedicated only to later favor the Archduke Rudolph of Austria, Antonie Brentano as dedicatee. However, the latter could appear on the title page then only in a London Edition, now the Archduke is considered the official dedicatee.

Construction

First Set

Maestoso - Allegro con brio ed appassionato ( C minor, 4/4-time )

The first movement begins with a Maestoso introduction, which is ambiguous harmonically a dramatic introduction to the main clause. This design principle is reminiscent of the Pathétique, because even there the main clause preceded by a slow, rhythmically and harmonically pathetic introduction. In double -dotted, diminished seventh chord jumps the tonic C minor is just not actually reached down to stroke in 2. After Forte - start the dotted rhythms split off into a chromatic embossed pianissimo passage before they dissolve over a crescendo in eighths. Almost dissonant this eighth now lead to a trill on the lowest G pianissimo, on the changes over the first set into the Allegro and opens into the main theme.

This issue is now determines the sonata, which is characterized by changes in the dynamics, but also in the movement itself. On quietly fading away adagio passages fulminant fortissimi, which in turn immediately die again follow. Beethoven Use the standard variety, but as so often in his later work mainly polyphonic composition techniques, in which the subject is processed again and again.

The descending eighth of the first theme transform such as in a elftaktiges unison of sixteenth notes before the start again now sounds accompanied by eighths. Beethoven slowed again and again the pace in rites duck and adagio passages. The transition to the second theme is applied consistently contrapuntal and modulated by A-flat major, the first topic will be here still several times. So is also the second theme heard from distributed over large spaces Half fortissimo to recognize as a variant of the first, especially the descending, but now dotted melody that is heard before re ritardando. Also the final part of the exhibition is the first theme, now changed slightly marked.

In the implementation ( now G minor ) is taken the polyphonic debate again, the theme is heard only in octaves (in the form of the final part of the exposure), among others, with trills accompanied, eventually even in chord form.

The recapitulation is again on the tonic and intensified and extended in particular the passages between the topics. The differences between exposition and recapitulation are sometimes quite significant.

After the recapitulation ends in unison runs, the rather short coda begins with a diminuendo from Half shock. This is followed by a new thought in his right hand, accompanied by sixteenths, which eventually fades away in C major, pianissimo.

Second sentence

Adagio molto semplice e cantabile ( C major, [ first ] 9/16-Takt )

But it is the Adagio, this huge (20 minutes long ) set of variations on the Arietta at the beginning, which makes up the real secret of this sonata. This sentence is seen by many pianists as one of the most sublime moments in the entire repertoire ( source? ).

The variations of Op 111 structurally based on the model of the variations of Op 109, the third sentence of Opus 109 is realized in picking up on the theme in rhythmic contractions and a climax of long trills. However, it remains in Op 111 " obtain acceleration of the rhythm of the basic tempo mostly" at. The development seems over 109 op organic, and " to develop through a rigorously controlled process from the inside out. " The entire set can thus be seen as a " rhythmic increase of variations ".

A rough outline can summarize the Arietta subject to variation 2 as the increasingly enhancing development line. Variation 3 represents a high point and the simultaneous change in the character represents the first three variations are based on this structure, and also keep the 2- to-1 rhythm of Arietta at. As so often with Beethoven, these variations are characterized by the ever -shortening each rhythm, the composer makes it extremely unusual clock dividers ( from 9/16-Takt in the Arietta for 12/32-Takt in the third variation ). As a major incision, turning and resting point but can variation be 4 construed with its pianissimo, tremolos, and arabesques. These create by William Kinderman, a " ..., an ethereal atmosphere, as if the music enter a glorified kingdom. ". Variation 5 and subsequent coda realize then an increasing resolution process in pure sound, which is caused by wide gaping register, elongated, sometimes multiple trills, and a further reduction of the note values ​​. Despite this " resolution processes " the original Arietta theme is not forgotten, and taken up again in the upper voice.

Topic

The theme consists of two 8 bars, both parts are repeated, the first is in C major and is commonly regarded as the peaceful, contemplative, while the second part is in A minor, which while not the voltage of the first movement is built, however, a contrast. Beethoven expanded in the first three cycles, the melodic, falling interval C - G of the lower fourth successively to the lower fifth D - G, and finally to the ascending sixth G - E. The frequently occurring tone G takes - as in the other variations - a key role. The print highlight places Beethoven on clock 5 and 6, where the highest note G2 coincides with the deepest bass note D, and is enhanced by a crescendo. Designed similarly is also the part in A Minor. How much Beethoven has been experimenting with the design of the height of the Arietta theme, showing his many sketchy designs in Artaria 201 and Ms 51

Variation 1

This has been a somewhat more agitated, yet still quiet character. The note values ​​are to alternate eighths and sixteenths on 16- stuffs reduced in the left hand. The increasingly applied in the following variations and syncopated rhythms About bindings are already indicated in this variation in the left hand. The original theme is in the different intervals of the right hand ( sixth, fourth, second, octave, etc. ) clearly. From bar 20 the sound is tight by two and three sounds. As highest note of our model acts as the topic, the G2 ( measure 21 and 22) with simultaneous crescendo.

Variation 2

The model of change -eighth - sixteenth - eighth - and so is continued in variation 2 with shortening of note values. However, in halved values ​​, ie 16- tel - 32- tel - tel -16 - etc, but in both hands.. As in the following variations prepares Beethoven essential elements of a variation that is already in the previous variation before, and so conveys the listening experience a more continuous progressive development of variation to variation. Left and right hand throw in the beginning (cycle 1-6) achttönige the phrase in a sort of question and answer game against each other. Thereafter, left and right hand pair increasingly interdependent. Again, the short-term emphasis of the tone clock G2 in 6 and 7 and in measure 15-17 is observed. The second half of the variation in turn shows an intensification of tonal density by two voices and Oktavgriffe in the left, and triads in the right hand. In addition, enhancing affects the appearance of a higher D3 highest note in measure 13 and 14

Variation 3

This stands out in their "big excitement and complexity of the rhythm " and the 12/32-Takt, from the previous variations from. Nevertheless, on the further halving of the principle 16- tel - 32.tel -16 - tel - etc. 32- tel, tel 64 - 32- tel etc. connect to Variation 2 available. The first three bars are falling rapidly downhill and uphill running with chords in the right hand connecting triads ( arpeggios ) in marked forte. From bar 6 of this model then in rhythmically running synchronously triad figures of both hands in increasingly distant registers - an approach which intensify the following variations - over.

The change between 32- stuffs and 64 -th the one hand and the überbundenen syncope the other hand does not remember wrongly, such as Igor Stravinsky said, to a (then not existing) boogie woogie and ragtime. At first glance, the rhythms are indeed comparable, however, a very exuberant dance is usually associated with the intensification made ​​with Beethoven.

The second part of Variation 3 continued this rhythm, but is distinguished by the abrupt change between forte and piano, sequencing runs of the right hand, and full -grip chords both hands again significantly from the first part from.

Variation 4

From the 4th variation (cycle 65 ) to finish a 9/16-Takt is specified. As a result of from here almost universally prevailing 32- tel - triplets (except in bars 106-128 ), there is in fact from here to the end of a sentence, a subdivision of the beat in 27 parts before.

Variation 4 is the character and listening experience the clearest dividing line between theme and variation 1 and 2, and 5, and variation of the coda. The dynamics is scaled back to pianissimo. The accompaniment of the left hand is usually limited to low tremolos, repetitions, or sporadic simple chords. The right hand usually provides this long-held three-and four-note chords.

From bar 9 (72 /73) fall in both hands often chromatically hochschraubende 32- tel - triplet runs, which form due to their high position a distinct " detached " Unlike the sometimes striking bass figures of the previous variations. The melody and the distinctive rhythm of Variation 3 is increasingly dissolved in pure, impressionistic sound. The synkopisierenden models from variation 3 are still - in part, continued - albeit with a very different effect. The registers of the two hands are thereby driven into increasingly remote location.

A three-bar cadence then leads into an embossed trills passage over to Variation 5.

This resolution of the clear melody progressions in favor of pure sound finds its provisional, even dramatic climax on a seemingly endless trills (short even three voices! ) In the intermediate portion 4 to 5 variation is modulated in the after -flat major.

Thereafter, once the upper part of the theme in its original form, again with triplets in the accompaniment and an additional voice in the midst of the melody.

Finally, Beethoven introduces the issue again in a kind of coda to, but this time played over a steady, 11 -measure trill in the right hand before the whole sentence after a quick but peaceful passage on simple C - major chords expires pianissimo.

Variation 5

After that begins in the fifth variation, the resolution of the original rhythm in favor of free-flowing 32nd triplets tremolos, on which the subject appears in varied chords, first in the bass, then treble. The issue here appears moved rhythmically, but over the triplets of Synkopencharakter disappears very quickly and the theme is "floating ". Beethoven now also changed the shape and varies the two parts instead of repeating them.

Interpretations

With Beethoven's last piano sonata music scientists, artists and philosophers have repeatedly occupied.

• Jürgen Uhde sees the last sonata, especially in the second set, a document of farewell, a will, a profound, touching the afterlife music of the spheres. "? Shapes the World Spirit, without the knowledge of the producing subject, here actually eschatological music .. " The first and second set belonged to different realms of, the deeper region of the first was divorced from the higher of the second one could at first the "will ". recognize, looking to achieve his goal in an ultimately indecisive battle was possibly described in the second sentence, the "grace." in praise of the Arietta, the " in ever higher spheres swings ", the battle will not matter.
• Walter Riezler speaks of a realm with no way out. The second set as " directly into infinity ... By the fourth variation on ... it is decided that there is no turning back here ... is the last spiritualization resolution in space. "

• Thomas Mann's humorous how profound analysis of this work in "Doctor Faustus " has gone down in literary history. The music teacher Adrian Leverkiihn, Wendell Kretzschmar, makes this work and explains to the audience in an enthusiastic, interrupted by stuttering speech the backgrounds of the sonata. " ... Well, the man was able to devote an entire hour to the question why Beethoven Op 111 written to the piano sonata no third set ' - a besprechenswerter object without question ... However, we learned it through this event just know, and very accurate since Kretzschmar them on the right inferior upright piano that was available to him ( one wing was not allowed ), excellent, albeit with schollerndem clang, brought to hearing, but in the meantime their emotional content, with description of the circumstances under which they - along with two others - were written, analyzed with great intensity and reminisced with caustic joke about the Master 's own explanation of why he had waived a third, with the first corresponding set here. He had in fact answered the famulus to his question, that he had had no time, therefore I prefer the second extended a little longer ... The answer lies in such disdain for the questioner had apparently not noticed ... "

• Theodor Adorno, who had Thomas Mann music theory advise on the novel and is considered as a ( distorted caricature ) model for the figure of Kretzschmar, spoke in connection with this sonata in aesthetic theory of " Eros and knowledge." In Doctor Faustus Arietta the lyrical theme of the second set with the idyll Association " meadow land " is paraphrased, alluding to Adorno's birth name.

• Alfred Brendel writes, the Sonata WOULD in two ways: " As a final confession of his sonatas and as a prelude of Silence. " Think of Bulow's attempts at interpretation " Samsara and Nirvana ," to " and Papers from Prison " or to the " male and female principle from which Beethoven himself so fond of saying. "

• Edwin Fischer: "In these two sentences, we find this world and the hereafter symbolized. "

Autograph and sketches

The autograph of the first movement is in the Beethoven-Haus in Bonn (BH 71) of the second sentence is missing. Beethoven's sketches for op 111 are located in the Berlin State Library of the Prussian Cultural Heritage Foundation ( Artaria 180, 197 and 201 ), the Bibliothèque Nationale de France in Paris (Ms 51), and the Society of Friends of Music in Vienna ( A 48).