Piano Sonata No. 8 (Beethoven)
Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op 13 was described by Beethoven as Sonata Pathétique Grande and known as the Pathetique. It is dedicated to Prince Karl von Lichnowsky, Beethoven as one of the " most loyal friends and carrier" of his art in high esteem, and was built in 1798 /99. "In many Beethoven books, Op 13 is seen as a" breakthrough " for their own style of expression. " We saw the confession -like and Subjective his music in the revolutionary era of Napoleon as an expression of their own, pathetic excessive pain as well as politically to German phenomenon ( Theodor W. Adorno).
- First movement: Grave / Allegro di molto e con brio, C minor, 4 /4 time / alla breve, 310 cycles
- Second movement: Adagio cantabile, A flat major, 2 /4 time, 73 bars
- Third movement: Rondo Allegro alla breve 4/4-time, 210 cycles
The first movement begins with a slow introduction ( Grave ). Even these first 11 cycles are of extreme dynamic contrasts ( repeated alternation between p, fp and ff) coined. After a full grip, accented c- minor triad of gloomy threatening effect pushes a rising in dotted rhythms tone sequence to a ( double dominant matic ) diminished seventh chord whose painful acting dissonance resolves itself into the dominant triad, the upper voice from es1 in terms of a sigh second to d1 sinks down. The subsequent sequenced repeating this opening motif begins with a dominant matic diminished seventh chord, making the painful effect is enhanced. Two further intensifying (sometimes shortened ) repeats; three chromatic chords are pushing further into the air, then falls from highest note as2 a Vierundsechszigstel run deep.
In the fifth cycle, which begins in E-flat major, the motif Grave wins by full grip semiquaver chords in the left hand to kinetic energy. When trying to work up, it is interrupted twice by brutal fortissimo between moving dotted chord progressions. The finally reached about " tedious " chromaticism height can not be held: at the end rushes a chromatic scale accelerated ( her last section is listed in Hundertachtundwanzigsteln ) down. The " disaster " is sealed by the reduced Septfall as1 -h ( saltus duriusculus ), which leads on to the main part of the sentence.
The repeated, structured in each four-bar antecedent and consequent main theme (Allegro) from 11 to 26 clock begins with an ascending staccato melody that is backed by octave tremolos in the left hand.
From cycle 27 to 34 over two chords follow crashing, broken triads, before the main theme this time reappears in the dominant. Also, the exposure is, as already indicated in the introduction, marked by a pressing upward motif that his confirmation but never found: it always ends up back in falling figures. The incoming clock in 51 page issue is of a change of tune between low (bass ) and high position ( treble ), as well as in a parallel running " question - answer game ." Another unusual feature is the choice of Key E flat minor instead of the usual major - parallel -flat major. From 89 clock from an ajar to the tremolos of the main theme with a figure appears in Sekundschritten down out bass. Eight bars with diatonic scales in eighth notes lead on to a brief repetition of the main theme. Appears at the end of exposure, before performing again the Grave- part, the issue in the implementation, again accompanied with octave tremolos, is taken up in the left hand.
The tremolo switch from bar 149 in the high position, and the bass playing to a modification of the ascending Halbtonfolge of the main theme ( e - f - g - as - h - c ) ascending in fifths and fourths Halbtonfigur ( tot - f - the - c -, etc.). The main theme occurs again at bar 285 in its original form in C minor, and the second subject at bar 221 in F Minor on. From bar 253 again the figure of 89 clock appears before in the coda from bar 299 the Grave- topic, but changed harmonious, on a third occasion. The set ends with the repetition of the main theme furiously.
" The flight to a sharp, dahinsausendes crouched as it were in one, from time-consuming giant affects free tempo ( is ) ... in the Allegro molto Pathétique ... the only way to meet the set requirements."
The second movement, a lyrical reverie with one of the most famous melodies of Beethoven, is in A-flat major, the key in which Beethoven often brings his most intimate and warmest expressions. He is in ternary form (AA ' BACC ' A " A '" Coda ) built. The 8 -bar section A is divided into each four-bar antecedent and consequent. A halbtaktiger change from the accompanying 16- stuffs to 16 - tel triplets leads up to an octave high offset of the theme. From bar 17 is then followed by the B- part with compact block chords in the left hand ( Sample? / I). This includes 8 bars and four clocks nachgeschobene as a transition to a repetition. From bar 37 the accompaniment for the rest of the sentence changes in 16 - tel - triplets.
This contrast is further enhanced by the dynamics (pp ↔ sf ), a change of more economical, unanimous accompaniment to heavy block chords in the lower register, and a displacement of the melody in a higher position strengthened. From bar 45 the topic in a shortened form ( two three- cycles) is repeated with interchanged Tongeschlechtern the two parts. The first three bars are in a major key, while the following three measures are set in minor. From clock 51-66 then is the opening theme (measure 1-16 ), this time with triplet accompaniment, repeated. An eight-bar coda ends the movement.
The Rondo opens with a theme ( ritornello ), which ties in with the theme of the first movement. In Rondo always new couplets (B, C, D) with a recurring refrain (A; starting at bar 1, 61, 120 and 171 ) from. The partially derived from the material of the chorus part couplets are made less strict, and go through varying " Fort spin drying " into each other.
A frequently recurring musical phrase, for example, the recurrent stroke from 33, 51, 114, 143, and 189 triplet swing figures.