Piano Sonata No. 9 (Beethoven)

Ludwig van Beethoven's Sonata No. 9 in E major, Op 14 No 1 was built between 1798 and 1799 and is the Baroness Josefa von Braun dedicated.

The two sonatas op 14 emerged at the same time as the Pathetique, however, form a lyrical and relaxed counterweight and are of a more chamber music character. The Sonata Op 14 No 1 Beethoven himself has 1801/1802 reworked for string quartet.

Construction

  • First movement: Allegro, in E major, 4 /4 time, 162 beats
  • Second movement: Allegretto in E minor, 3 /4 time, 116 beats
  • Third movement: Rondo, Allegro commodo, E major, 4 /4 time signature alla breve, 131 cycles

First Set

The movement starts directly with the first topic: ascending fourths in half-notes, accompanied by appoggiaturas end eighth chords, followed by four halbtaktige semiquaver passages in descending pitches, which - like the set of the following more lyrical bars - are set in the style of a string quartet. A variation of the first theme leads over several dynamic contrasts to the secondary theme ( measure 22 ): a continuously held in the piano almost unaccompanied ascending melodic line, which in turn opens into a quartet even reconciliation. From bar 46 is followed by a 4- taktiger forte / sforzando outbreak that alternates between E minor and E major. One began in the piano and to fortissimo to enhancing 6 -bar passage, which is modeled on the theme in the structure leads to the end of the exposition: the first theme is heard in the pianissimo in the bass, the right hand takes over the appoggiaturas chords.

The implementation ( from bar 61) first takes on the first theme, apply it however harmoniously by a minor and for a diminished chord (bar 64) begins new: resolved in sixteenths chords in the bass - starting in A Minor - accompany a chordal run eighth issue of the right hand, which after a short Hinführung always a tone orbits (cycle 65 to 80 ). After the first theme returns, but initially remains in E minor (bars 81 to 90 ).

In bar 91, the recapitulation begins, Theme 1 now appears in full chords, the block start in eighth chords out, accompany is replaced by ascending sixteenth-note scales. Only a short irritating interlude interrupts then continued following the recapitulation: In bar 103 to 106 Theme 1 in C major appears, at first pianissimo Employing.

The coda ( from bar 148) processed only topic 1, only short - sforzando accents the left hand to interrupt the otherwise held in pianissimo and piano course.

Second sentence

The set consists of three parts: an Allegretto in E minor is overridden by a Maggiore Trio in C Major repeated (bars 63-100 ) unchanged, a coda ( from bar 101) follows, which in turn picks up the theme of the Maggiore.

Third set

The sentence starts immediately with the eight-bar main theme a: a guided in octaves ascending line is accompanied by eighth-note triplets in the left hand, the last four bars interrupt this smooth motion: a half note followed by a descending scale in sixteenths, then bring four quarters the two-bar section at the end, which is repeated an octave lower. The subject is then again, the second part is a little extended. This is followed by the first couplet (cycle 21 to 30 ), which recalls because of economical instrumentation to the theme of the first movement: the left hand adds the first unanimous, then several voices out line, right after a break a few Supporting appoggiaturas tones at. After a pause (cycle 30) again resounds Topic 1 The second couplet (cycle 47-83 ) takes the triplet accompaniment of the left hand from the main theme on.

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