Piano Sonata No. 5 (Beethoven)

Beethoven's Sonata No. 5 in C minor, Op 10 No 1 was built between 1796-1798 and is the Countess Anna Margarete von Browne dedicated.

After Joachim Kaiser is the so-called "small" c minor Sonata a wrongly often underappreciated work, just their brevity prevented the appreciation of this " desolate genius " outbreak, Emperor rated as pointed and stormy as the " clearer and selbstsicherere " Pathétique.

Construction

First movement: Allegro molto e con brio, C minor, 3 /4 time, 284 strokes
Second movement: Adagio molto, A flat major, 2 /4 time, 112 strokes
Third movement: Finale, prestissimo, C minor, all breve, 122 cycles

1st movement

Exposition

The exposition includes the bars 1 to 105 consists of

The - with his next start standing listed - the main movement (mm. 1-30), which is completed by distinctive cadential fortissimo chords and from below by a general pause -bar ( T. 31) delimits
The reconciliation ( T. 32-55 ), the following on the well-known motif from A rising sixth g1 - es2 a new lyrical ideas developed
The lateral movement (mm. 56-86 ), consisting of the secondary theme (mm. 56-63 ) and its spin -drying Fort ( T. 64-94 ). The bars 86 ff, which build on the motif A of the main theme, which is actually a typical circuit group feature can still be expected even for Fort spin drying, because until bar 94, a cadential complete commercial is achieved
The final group ( T. 95-105 ), which takes up a motif of reconciliation.

Implementation

The development begins with motif A of the first theme in C major, after which the motif B ends in a ( to C minor dominant matic ) diminished seventh chord, which then also the recurring motif A is played. It appears again the motif B, which now opens into a to F minor dominant matic diminished seventh chord, which then sounds the motif A. Two cadential by F minor cycles, lead on to a free, but rhythmically and thematically related to the transition in the exposition episode, the upper voice, which is accompanied by Alberti basses, is led oktavisch what helps her to a new timbre. The following is a motif of the episode continues spinning modulatory passage leading from f - Moll B flat minor, D flat major and F minor back to the tonic C minor.

Recapitulation

The beginning of the recapitulation corresponds exactly to the exposure, but the original 30 cycles comprehensive main rate is reduced to 21 bars by the final cross back to the motif A Forte - section is omitted. After a one-measure general pause the reconciliation thought appears - place in A-flat major exposure - now in G flat major and is continued by a modulating an octave higher rep. In bar 208 C major is achieved, which is then treated as dominant to F minor, but then turns to F major, in which key secondary theme also appears in measure 216. This for the appearance of the second theme in the recapitulation unusual key is an in bars 230 - "corrected" taking place 233 modulation, after the second issue now - octave and forte - occurs orthodox in C minor. Just like at the end of exposure and the subject A are after 2.Thema and its Fort spin drying again played. The conclusion is the same as the exposure to the different key and subtle changes, in which case the soft ( sigh -like ) Vorhalts extension of exposure is replaced by a simple tonic and two subsequent massive chord strumming ( dominant-tonic ). Another unusual feature is the addition of a final provided with fermata pause the clock, was to suggest by the Beethoven well that the second sentence should follow only after due pause.

2.Satz

The three-part Adagio ( 2/4-cycle, A flat major ) carries song-like character. Part 1 includes the cycles 1 to 44: a simple, peaceful melody is repeatedly interrupted by short accents in Forte and enhancing embellishments in the course, in clock 28ff used Beethoven 64th triplets, which are still extremely quickly even at the slowest basic tempo concluding with a passage in sixteenth - triplets. After a Fortissimoakkord in clock 45 is almost the same procedure in a slightly increased intensity repeated ( Part 2). The coda (part 3, from bar 91) takes the issue up again, but it is rhythmic, harmonic and dynamic always further simplified opposed the course of the previous sections, in the last 5 cycles do the words in pure flat major pianissimo from.

3.Satz

The finale ( alla breve C minor ) is created as a compressed sonata. The first theme characterizes an eighth- motif rhythmically striking, the second theme in E flat major occurs first on light and dance, in the course of exposure, however, the propulsive character of the first theme is gaining the upper hand again. The extremely tight on the head motif -based implementation (measure 46-57 ) concludes with a three times Oktavversetzung down repeatedly reduced Septsprung down, whose rhythm is an anticipation of the main subject of the 5th Symphony. In the recapitulation (bars 57-106 ), in which the second theme is heard in C major, but subsequently recolored to C minor, followed by a brief coda: the second theme appears in D flat major, the tempo slows down to the Adagio. After a pensive pause the set with a rugged fortissimo outburst returns to the initial pace, whereupon the piano follows an alternating combination of the initial motives of both topics. After a three-time Quote of the main subject, in each case by an octave transposed down, fades the sentence.

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