In this sonata, a new, not too long stage in the development of Beethoven's creative nature makes itself felt. Moving to Vienna, social successes, the growing fame of a virtuoso pianist, numerous, but superficial, fleeting love interests.
Spiritual contradictions are obvious. Should we submit to the demands of the public, of the world, find a way to satisfy them as accurately as possible, or go our own, difficult, difficult, but heroic path? Of course, a third moment also comes in - the lively, mobile emotionality of youth, the ability to easily, responsively surrender to everything that beckons with its brilliance and radiance.
Researchers have more than once been inclined to note the “concessions”, the outward virtuosity of this and subsequent Beethoven piano sonatas.
Indeed, there are concessions, they are felt already from the first measures, the light humor of which is a match for Joseph Haydn. There are many virtuoso figures in the sonata; some of them (for example, jumps, small scale technique, quick enumeration of broken octaves) look both to the past and to the future (reminiscent of Scarlatti, Clementi, but also Hummel, Weber).
However, listening closely, we notice that the content of Beethoven's individuality has been preserved, moreover, it is developing, moving forward.
First part sonata (Allegro vivace, A-dur) is notable for the growing richness of the thematic composition, the scale of development.
Following the sly, mischievous, “Haydnian” beginning of the main part (perhaps, it also contains some irony at the address of “Papa Haydn”), a series of clearly rhythmic and brightly pianistically colored cadences follows (with Beethoven’s favorite accents on pivot points). This fun rhythm game invites you to mindless joys. The brilliant play of the cadences is contrasted in the side part with languor - already of an almost romantic warehouse. It is anticipated in the transition to the side part, marked by sighs of eighth notes, alternating between the right and left hands. When the rhythmic background of the sixteenth tremolo in the left hand enters (m. 58, etc.), the sighs of the right hand become anxious, passionately impulsive and imploring. Chromatisms of an excitedly rising melodic line, syncopations, harmonies - up to the seventh chord, beloved by romantics, of two minor and one major thirds (later immensely exploited by Wagner in the opera "Tristan and Isolde") Everything here sounds so new, so fresh! The cadences of the main party were fractional, the development of the side party was continuous:
But, having reached the climax and breaking off the growth of romantic languor with loud exclamations and their quiet echoes, Beethoven again plunges into the stream of cheerfulness, brilliant fun of the final part. Here the resolute cadences are contrasted in exceptional relief with the chromatic yearnings of the secondary part. The nature of the whole image is also revealed. It is impossible to surrender to the pleasures of life with impunity - a thirst for depth, a passionate feeling awakens in the soul; and at the same time, suffering, dissatisfaction is born. Life again beckons with its seductions, and the will quickly copes with dreams of true happiness.
However, this is not yet the end. In development (where Lenz rightly found "symphonic development") a new element appears - heroic, fanfare. The fact that it (borrowed from the first element of the main part and transformed) is given against a trembling background of sixteenth notes from a side part is one of the manifestations of Beethoven's harmonious logic. The way of overcoming the anxieties and sorrows of personal life is outlined in the heroism of struggle, labor, feat.
The heroic principle appears in the development even further, where it is developed by sequential roll calls and sounds like the orders of the will so “thoughtless”, passive at first, the second element of the main party. The lull on the dominant before the reprise is Beethoven's original use of the classical organ point, in order to create a break, a caesura of form and, at the same time, arouse a feeling of thirst for the return of the original images.
The recapitulation does not contain essentially new elements, and we will not specifically dwell on it. Let us only note the ending, deep in meaning, and exposition and reprise with a lull, pauses (Beethoven later loved such endings). The essence is in the emphasized unresolved, in, so to say, interrogative results of the development of images. Such an ending exacerbates the existing contradictions and especially firmly attracts the attention of the listener.
In second part sonatas (Largo appassionato, D-dur) have more purely Beethoven features than in the slow movement of the previous sonata.
It is impossible not to notice the density and juiciness of the texture, the moments of rhythmic activity (by the way, the rhythmic background of the eighth notes “solders” the whole), a clearly expressed melodiousness, the dominance of legato. It is no coincidence, of course, that the most melodious, middle register of the piano prevails (the last introduction of the theme - as if by woodwinds - sounds like a light contrast). Sincerity, warmth, richness of experience - these are very characteristic, predominant features of the images of Largo appassionato. And these are new features, which were not to a similar extent in the piano work of either Haydn or Mozart. Of course, A. Rubinshtein was right, who found here "a new world of creativity and sonority." Recall that A. I. Kuprin chose this Largo as the epigraph of his story "Garnet Bracelet", a symbol of Zheltkov's "great love" for Vera Nikolaevna.
The richness of emotional branches and shades of Largo is remarkable. The main theme, with its concentrated chorality (an early example of Beethoven's purely wise contemplations), serves as a pivot. And the bright sadness of the “violin” (then “cello”) intonations of affectionate speech (from t. 19) and the drama of the minor theme (from t. 58) wrap around this core.
Romain Rolland rightly noted the special significance of the slow parts of Beethoven's sonatas. Criticizing contemporary professional formalists, Romain Rolland wrote: “Our musical era, more interested in construction than in feeling, attaches less importance to adagio or andante than to the first allegro of classical sonatas and symphonies. Things were different in Beethoven's era; and the German public at the turn of the 18th and 19th centuries. greedily quenched her thirst in the streams of "homesickness", Sehnsucht, tenderness, hope and melancholy that flow in Beethoven's adagios, as well as in songs of the same period (1795-1796) from "Wilhelm Meister".
Largo appassionato from the second sonata is an example of Beethoven's slow sonata movement already developed in the figurative and ideological sense. In the tendencies of such parts - to look at the world as if from the inside, from the side of moral norms - one can catch the echoes of the philosophical and religious trends of the era (indicatively, in this respect, the last, as if cleansed from the "carnal" carrying out of the Largo theme). But the fact of the matter is that Beethoven only occasionally, and then indirectly, touches the religious sphere. The real life content of the persistent thoughts of the people of his time dominates over the problems of ethics, the problems of improving the personality, which, delving into itself, finds the strength to master the passions, to subordinate them to the highest moral tasks. In Largo - and the struggle and overcoming. Lenz, who found "a whole little oratorio" here, was right in his own way.
The contrast brought by the subsequent scherzo (Allegretto, A-dur) is great. The appearance of the scherzo (instead of the minuet) testifies to innovation. Its essence is the need to revive the sonata whole with an element of joke, humor, genre. In the scherzo of the second sonata, the gallant "squats" of the first theme are transformed by a rough immediacy and straightforwardness. And in the trio - again melodiousness.
IN final sonatas (Rondo, Grazioso, A-dur) Beethoven famously chose a rondo structure with three main themes (and with a final introduction of the first theme); later he especially willingly uses this structure in his finales, as the most capacious, flexible and, you have, different from the sonata allegro.
Lenz wrote mocking words about the supposedly excessive length and banality of the music of this rondo.
On the contrary, A. Rubinstein saw in the finale of the second sonata the novelty of ideas and technique, the beauty of grace.
We think that the great drop in tension and the dominance of the elegantly superficial in the finale is not the result of a blunder or failure, but of Beethoven's conscious intention, generated by the composer's youthful enthusiasm and slyness of thought.
Having shown in the first and second parts the richness and exactingness of his emotional world, his ethical ideas, Beethoven now, as it were, hides all this under the cover of secular splendor, salon elegance. True, even in the finale, Beethoven's individuality makes itself felt - in the sharpness of rhythm, in the temperament of accents, in some fanfare intonations of minor fragments, in fresh, strong, tonal, rhythmic and textural turns of development before the last appearance of the initial theme. But sharp corners, after all, only peep through, do not catch the eye. The young lion seemed to be tamed, he forgot his wildness and independence. What a humble, polite cadence ends the rondo, and with it the whole sonata!
But let's not be deceived! Even if Beethoven was sincerely carried away by the "seductions of the world." This is fleeting, as we know from many biography facts of the great musician. Under the cover of transient hobbies remains a man of deep feelings, incorruptible will and great ethical demands. In his heart, he, apparently, is already ironic about his own weaknesses and the gullibility of secular listeners, ironically and is preparing for new creative exploits.
All musical quotations are given according to the edition: Beethoven. Sonatas for piano. M., Muzgiz, 1946 (edited by F. Lamond), in two volumes. Bar numbering is also given in this edition.
In the shadow of the stunning Largo e mesto, this Minuet has remained, perhaps, somewhat underestimated. It has not attracted much attention from researchers and is not usually seen as a clear manifestation of the style and genius of its creator.
Meanwhile, Beethoven's logic of the struggle of contrasting principles found a peculiar and subtle embodiment in the Minuet. In addition, it anticipates the features of the melody of subsequent composers - Schumann, Chopin. This, of course, does not make Beethoven's style close to romanticism: the difference between artistic concepts and world outlook remains in force. But such anticipations constitute an essential side of Beethoven's work and once again testify to his striving for the future, of his significance for the further development of art.
The minuet in question is of a light lyrical nature and is called "dear" by Anton Rubinstein. The main character of the piece is contrasted by some more active, dynamic elements, to a certain extent akin to the scherzo genre. And it is in how the functions of various genre-stylistic components are distributed throughout the whole work, how the dance melody of the classical minuet anticipates mature romantic lyrics, and how this lyrics is combined with the scherzo element, is the main artistic discovery of the play. Its discovery and explanation is one of the tasks of the etude.
Another task is to demonstrate different aspects of the analytical method outlined in the previous parts of the book.
Within the framework of the three-part da capo form, the melodic extreme sections of the Minuet are opposed by the middle (trio) - more active, with sharply accentuated motives. It is inferior to the extreme in size and plays the role of a shading contrast. The extreme sections, in turn, are also three-part, and they reproduce - on a correspondingly smaller scale and with less sharpness of contrast - a similar relationship: the initial period and the reprise set out and develop a dance-lyrical melody, while the imitation middle is more mobile and approaches in character to such an episode, which could be found in the scherzo.
Finally, the dynamic element also penetrates into the main lyrical theme. This is just one syncopated "a" sound in the left hand part, taken by the sforzando in an ascending octave jump (see bar 7):
This moment may seem like just a detail, a separate private touch, designed to add some piquancy to musical thought, to increase its interest. However, from the further course of the play, the true meaning of this detail becomes clear. Indeed, the impetus for the imitative middle of the first section is a similar ascending octave step in the bass with an accent (sf) on the second sound:
In the recapitulation (within the first section), the bass octave progression and the syncopated effect of the seventh bar of the theme are amplified:
Finally, the trio also begins with a two-tone rising forte motif in the bass - true, in fourths, but then gradually expanded to an octave:
With octave intonations fortissimo, and, moreover, on the sound "a", the trio ends.
It becomes clear that the syncopation of bars 7-8 really serves as an expression of a contrasting (relatively speaking, scherzo) beginning, drawn with great consistency throughout the entire piece. It is also obvious that the juxtaposition of the melodious-lyrical and scherzo elements (based on the danceability that unites them) is given at three different scale levels: within the main theme, then within the framework of the simple three-part form of the first section, and finally, within the complex three-part form of the minuet (this is one from the expressions of the already familiar principle of multiple and concentrated effects).
Now let's pay attention to the first sound of the melody - again the syncopated "a". But this syncopation is not of a dynamic nature, but of a lyrical one. Such syncopations and their frequent use by Chopin (let us recall at least the Waltz in h-moll) have already been discussed in the section “On the relationship between the content and means of music”. Apparently, the initial lyrical syncopation of Beethoven's Minuet is one of the earliest, most striking examples of this kind.
The play therefore contains syncopations of two different types. As mentioned in the "Principle of Combination of Functions" section, different functions of the same tool are combined at a distance, and as a result, a play with the possibilities of syncopation arises, which gives a great artistic effect: the syncopated "a" of bar 7 simultaneously resembles the initial "a", and noticeably differs from it in its unexpectedness and sharpness. In the next measure (8) - again a lyrical syncopation, beginning the second sentence. The juxtaposition of the scherzo and lyrical principles is thus also manifested in the described correlation of the two types of syncopations.
It is not difficult to distinguish between them: scherzo syncopations are given sforzando in a bass voice and precede even (in this case, light) measures (measure 8 in ex. 68, measure 32 in ex. 70); lyrical ones do not have a sforzando shade, sound in melody and precede odd (heavy) measures (bars 1, 9 and 13 in example 68, measure 33 in example 70). At the climax of the play, as we shall see, these two types of syncopation merge.
And now consider the opening turn of the Minuet. It concentrates the intonations that became characteristic of lyrical melodics in the 19th century: after the syncopation, there is a typical sixth leap from the fifth to the third degree, followed by a smooth decline and singing of the tonic d, including a delay to the introductory tone. All this - with a relatively even rhythmic movement, legato, piano, dolce. Each of the listed means separately can, of course, be found in a wide variety of genre and stylistic conditions, but all of them - hardly. In addition, the role of turnover in the work, its fate in it, is important. Here this role is very significant, the motive is repeatedly repeated, affirmed, strengthened.
For the further development of the piece, it is essential, in particular, the alternation of legato and staccato in the second intonations of bars 5-6 (and at similar moments). This main meaningful opposition in the field of strokes also serves here as a combination of the two main expressive principles of the piece. The staccato adds a touch of poignancy that sets the stage for the syncopation of the seventh bar. The latter nevertheless sounds unexpected, violates the inertia of perception.
Above, we discussed the meaning of this syncopation in the concept of the Minuet. But the meaningful function of syncopation is combined here (this time in simultaneity) with the communicative one. After all, it is in the usual cadence, perceived inertly due to the familiarity of its form and, moreover, signifying a drop in tension, that there is often a danger of a drop in the listener's interest as well. And the syncopation, breaking the inertia, supports this interest at the most necessary moment.
It is noteworthy that in the second sentence, constructed in general similar to the first, there is no such syncopation (on the contrary, another lyrical syncopation appears. This makes the full cadence of the period stable in rhythmic terms. However, the absence of an acute syncopation also violates the inertia of perception, since it ( syncopation) is already expected by analogy with the previous construction.As already mentioned in the section on the inertia of perception, in such cases, the disappeared, repressed (when a section is repeated) element still appears in the future, that is, the artist somehow returns his "duty "to the perceiver. Here it happens immediately after the end (and repetition) of the period: the initial intonation of the middle - the mentioned octave move in the bass with an emphasis on the second sound - is only a new form of the repressed element. Its appearance is perceived as desired, falls on prepared soil, captures advantageous metric-syntactic positions (strong beat of the first measure of the new construction) and therefore capable of serving as an impulse, the action of which extends to the entire middle.
This lively middle causes, in contrast, the strengthening of the lyrics: in the first sentence of the reprise, the melody begins against the background of a trill of the upper voice, unfolds more continuously, includes chromatic intonation (a - ais - h). The texture and harmony are enriched (deviation into the tonality of the second stage). But all this, in turn, entails a more active manifestation of the dynamic element.
The climax, turning point and a kind of denouement come in the second sentence of the reprise.
The sentence is expanded by ascending sequencing of the main lyrical motif. The climactic d is, in essence, the same lyrical syncopation that began both the whole play and this sentence. But here the syncopated sound of the melody is taken sforzando and preceded by an even (light) measure, which was still characteristic of syncopated scherzos. In addition, on the downbeat of the next measure, a dissonant altered chord sounds, also taken by sforzando (here is a syncopation of a higher order: the chord falls on a light measure). However, these manifestations of the scherzo element, coinciding with the climax of the lyrical growth, are already subordinate to it: the chord with expressive semitone gravity of the augmented sixth supports and enhances the climax. And it represents not only a melodic peak, but also a turning point in the figurative development of the main section of the Minuet (up to trio). There is a combination in simultaneity of two types of syncopation, which expresses the fusion of the scherzo and lyrical principles, and the first is subordinate to the second, as if dissolving in it. The climax here could be likened to the last attempt at a playful frown, which immediately turns into a smile.
Such is the consistently carried out witty figurative dramaturgy of the main section. Naturally, the lyricism, which asserted itself in the struggle, resulted in a broad melodic wave (the second sentence of the reprise), which is especially clearly reminiscent of the lyrical plays of the romantics. Sequential expansion of the reprise is quite common for the Viennese classics, but the conquest in its second sentence of a bright melodic peak, harmonized by an altered chord and serving as the culmination of the whole form, became typical only for subsequent composers. In the very structure of the wave, there is again a correspondence between a smaller and a larger structure: the sequenced initial motive is not only a jump with filling, but at the same time a small wave of rise and fall. In turn, a large wave is also a jump with filling (in the broad sense): in its first half - during the rise - there are jumps, in the second - no. Perhaps, most likely this wave, in particular the climax and scale-like decline with chromatism in melody and harmony (with the smooth movement of all voices), is reminiscent of Schumann's lyrics.
Some other details are also characteristic of post-Beethoven's lyrics. So, the reprise ends with an imperfect cadence: the melody freezes on a fifth tone. Similarly, the addition that follows the reprise, which has the character of a dialogue, ends in a similar way (this addition also somewhat anticipates Schumann's music).
This time, even the dominant preceding the last tonic is given not in the main form, but in the form of a third quarter chord - for the sake of unity with the harmonic structure of the entire addition and the main motive of the Minuet. Such an ending to the play is an extremely unusual case for the Viennese classics. In the works of subsequent composers, imperfect final cadences are often found.
It has already been said above that the “farewell roll call” of registers, motifs, timbres is often found in codes and additions. But, perhaps, such final comparisons in lyrical music are especially impressive. In the case under consideration, the farewell dialogue is combined with the deepening of the lyrics, with its new look (as is known, in Beethoven's codes, the new quality of the image has become quite a characteristic phenomenon). The initial motive of the Minuet not only sounds in a new way in the low register, but is also changed melodically: the retention d - cis is now stretched out, becoming more melodious 1 . A metrical transformation also took place: the measure on which the dominant terzquartakchord fell at the beginning of the Minuet (with the retention of d in the melody) was light (second), here it became heavy (third). The measure, which contained the melodic turn a-fis-e, was, on the contrary, heavy (the first), and now it has turned into a light one (the second). a) on which it is built. The very separation of two motifs from an integral melodic line and their comparison in different voices and registers can make them more weighty, present them as if in an increase (not rhythmic, but psychological). Recall that the decomposition of a certain unity into constituent elements for a more complete perception of each of them, and then the whole, is an important technique not only for scientific, but also for artistic knowledge (this was already discussed in the section “On Artistic Discovery” when analyzing Chopin’s Barcarolle) .
However, in art, the subsequent synthesis is sometimes left to the perception of the listener (viewer, reader). This is what happens in this case: the addition, it would seem, only decomposes the theme into elements, without recreating it again; but the listener remembers it and perceives - after an addition that deepens the expressiveness of its elements - the whole lyrical image is more complete and voluminous.
The subtle touch of the addition is the alternation of the natural and harmonic VI steps in the melody. This technique, used by Beethoven in the final constructions and later compositions (for example, in the final party of the first part of the Ninth Symphony, see bars 40-31 from the end of the exposition), was widely used in the work of subsequent composers of the 19th century. The very singing in the addition of the 5th degree of the mode with two chromatic auxiliary sounds b and gis might seem insufficiently prepared under the conditions of the diatonic melody of the Minuet, if chromatic intonations had not flickered in the melody earlier. Apparently, however, more important in this respect is the climactic harmony, which contains the sounds b and gis, gravitating toward a. In turn, this harmony - the only altered and unusual-sounding chord in the whole piece - perhaps receives some additional justification in the mentioned intonations a - b - a - gis - a. In a word, the culminating harmony and the pacifying semitone chanting of the 5th degree of the mode in the addition probably form a kind of pair representing
“a peculiar manifestation of the principle of pairing of unusual means, described in the last section of the previous part of the book.
We will consider the theme of the trio more briefly. It stands, as it were, in reverse relation to the thematic nature of the extreme parts. What is there in the background and has the character of a contrasting element, overcome in the process of development, comes to the fore in a trio (active ascending motifs of two sounds). And vice versa, the subordinate (contrasting) motive within the trio, also overcome and forced out at the end of this section, is the two-bar piano, the melodic-rhythmic figure of which resembles the turnover of bars 2-3 of the main theme of the Minuet, and the sound in the low register echoes the similar sound of the initial motive main theme in the immediately preceding appendix.
Behind this simple relation lies, however, a more complex one. It would seem that the theme of the trio is close to the themes of contrasting main parts, typical of Mozart's first allegroes. But, besides the fact that both elements of contrast are given against the background of the same triplet accompaniment, their ratio acquires a slightly different meaning. The second element, although it includes a delay, ends with an affirmative (iambic) intonation of a descending fifth, the first sound of which is also taken staccato. Invariably responding in a low register (unusual for the second elements of contrasting themes) to short active motifs thrown from the bass to the upper voice, the quiet and rhythmically even phrase is here the beginning not so much soft or weak, but calmly calm, as if cooling the ardor of sharp impulses.
This perception of the phrase is also determined by its place in the entire Minuet. After all, the three-part form of the classical minuet is strictly prescribed by tradition, and a more or less prepared listener knows that the trio will be followed by a reprise, where in this case the primacy of the dance-lyrical principle will be restored. Due to this psychological attitude, the listener feels not only the subordinate position of the described quiet phrase within the trio, but also that it serves as a representative of the dominant element of the entire piece, which has only temporarily faded into the background. Thus, the classical contrast ratio of motifs turns out to be ambivalent in the trio and is given with a certain mildly ironic tinge, which, in turn, serves as one of the expressions of the scherzoness of this trio as a whole.
The general dramaturgy of the play is connected, as is clear from what has been said, with the displacement of the scherzo element by the lyrical one at different levels. In the topic itself, the first sentence contains an acute syncopation, the second does not. We have followed in detail the overcoming of the scherzo element in the tripartite form of the first section. But after the quiet and gentle intonations of the lyrical addition, this element again invades as a trio, only to be again supplanted by the general reprise. We digress from the repetition of parts within the first section of the Minuet. They have a predominantly communicative meaning - they fix the corresponding material in the listener's memory - but, of course, they also affect the proportions of the piece, and through them the semantic relationships, giving the first section more weight compared to the trio. Least of all these repetitions affect development logic: for example, after the first appearance of the addition, the imitation middle sounds again, starting with accented two-tone motives of the bass voice (see example 69), and after repeating the addition, a trio begins, starting with a similar motive.
Having finished the analysis of the thematic material and the development of the piece, let us now return to the anticipations we noted (in the extreme sections of the Minuet) of later lyrical melody. It would seem that they were not at all caused either by the genre of the minuet in general, or by the nature of this piece, which by no means claims to have special emotional expression, developed songwriting, or a wide spill of lyrical feelings. Apparently, these anticipations are due precisely to the fact that the lyrical expressiveness of the extreme sections of the play is consistently enhanced in the struggle against the scherzo-dynamic element and, as it were, is forced to put more and more new resources into action. Since this is carried out under conditions of severe restrictions imposed by the chosen genre and the general style of music, which do not allow a wide or violent overflow of emotions, the development of melodic and other means takes place in the direction of the subtle lyrics of small romantic pieces. This example shows once again that innovation is sometimes also stimulated by those special restrictions that are associated with the meaning of the artistic task.
Here the main artistic discovery of the play is revealed. There are many lyrical minuets (for example, by Mozart) that are even more profoundly lyrical than this one. Minuets with all sorts of scherzo shades and accents are found in abundance among the Viennese classics. Finally, combinations of lyrical elements with scherzo elements are not uncommon in minuets. But the consistently executed dramaturgy of the struggle of these elements, in the process of which they seem to spur and reinforce each other, the struggle leading to a climax and a denouement with the dominance of the lyrical beginning after it, is a specific, uniquely individual discovery of this particular Minuet and at the same time the discovery typically Beethoven in its extraordinary logic and striking dialectic of dramaturgy (transformation of scherzo accents into one of the manifestations of the lyrical climax). It also led to a number of more private discoveries in the field of the described anticipations of the lyrics of nineteenth-century composers.
The originality of the piece, however, also lies in the fact that the means of post-Beethoven lyrics that have arisen in it are not given in full force: their action is restrained by the general nature of the piece (fast tempo, dance, a significant role of staccato, the predominance of quiet sonority) and its position in the sonata cycle as a part that contrasts with other parts also with less weight and is designed to give some relaxation. Therefore, when performing the Minuet, it is hardly necessary to emphasize the features of romantic lyrics: immediately after Largo e mesto, they can sound only in an undertone. The analysis presented here, much like slow-motion filming, inevitably highlights these features too close, but only in order to better see and understand them, and then recall their real place in this play - albeit lyrical, but secular, witty and mobile classical minuet. Feeling under its cover, in its restraining framework, these features give the music an inexplicable charm.
What has just been said about the Minuet applies, to one degree or another, to certain other compositions of early Beethoven or to their separate episodes. Suffice it to recall, for example, the mobile-lyrical opening theme of the Tenth Sonata (Q-dur, op. 14 No. 2), extremely flexible, sinuous and elastic, containing many features that later became characteristic of the lyrics of subsequent composers. In the connecting part of this sonata, there is a chain of descending retentions, repeated (sequenced) twice up and down (bars 13-20), which also throws the arc to the melody of the future, especially to the typical dramaturgy of Tchaikovsky's melodic lines. But again, the almost ready-made mechanism of the later lyrics is not set in full swing: the mobility of the theme, the comparative brevity of the detentions, the grace notes, and finally, the Viennese-classical nature of the accompaniment - all this restrains the emerging romantic expressiveness. Beethoven, apparently, proceeds in such episodes from the traditions of Rousseau's sensitive lyrics, but he transforms them in such a way that means are created that in many respects anticipate the future, although only in it will they reveal to the end (of course, under correspondingly different conditions of the context) their expressive possibilities, will begin to operate in full force. These observations and considerations perhaps provide some additional material for the problem of "Early Beethoven and Romanticism".
In the previous exposition, the Minuet was considered as a relatively independent piece, and therefore indications of its place in the sonata were limited to the necessary minimum. This approach is largely justified, since the parts of classical cycles do have a certain autonomy and allow for separate performance. It is natural, however, that a part has a complete artistic impact only within the framework of the whole. And therefore, in order to understand the impression produced by the Minuet when perceiving the entire sonata, it is necessary to clarify the corresponding correlations and connections - first of all with the immediately preceding Largo. An analysis of these connections will be combined here with a demonstration of a certain way of describing a work - the way mentioned at the end of the section "On Artistic Discovery": we will, as it were, derive the structure and partly even the thematics of the play (at some levels) from its creative task known to us in advance, its genre , functions in the sonata cycle, from the artistic discovery contained in it, as well as from the typical features of the composer's style and the traditions embodied in it.
Indeed, the role of this piece in the sonata is largely determined by its relation to the neighboring parts - Largo and finale. The clearly expressed scherzo features of the latter would not be consistent with the choice of the scherzo as the genre of the third part of the sonata (it is also impossible here to do without a fast middle movement, that is, to make the cycle three-part, since this finale could not balance the Largo). Remains - in terms of early Beethoven's style - the only possibility is a minuet. Its main function is a contrast to the mournful Largo, giving, on the one hand, relaxation, less tension, on the other, some, albeit restrained, lyrical enlightenment (in some places with a pastoral tinge: we recall the introduction of the theme, which begins against the background of a trill in the upper voice ).
But the classical minuet itself is a contrasting three-part form. And in cases where he is predominantly dance-lyrical in nature, his trio is more active. Such a trio can prepare the finale, and in this preparation lies the second function of the Minuet.
Recalling now Beethoven's tendency to develop in concentric circles, it is easy to assume that the comparison of the dance-lyrical and more dynamic (or scherzo) beginnings will be carried out not only at the level of the minuet form as a whole, but also within its parts. An additional basis for such an assumption is a similar development (but with an inverse relationship of themes) in the fast middle part of the earlier Second Sonata. Indeed, in her Scherzo, the contrasting trio naturally has a more calm, melodious character. But in the middle of the extreme sections there is also a melodious episode (gis-moll), close in its even rhythm, smooth melodic pattern, minor mode (as well as the texture of the accompaniment) to the trio of the same Scherzo. In turn, the first bars of this episode (repeated quarters) follow directly from bars 3-4 of the main theme of the Scherzo, rhythmically contrasting with the livelier initial motifs. Therefore, it is easy to expect that in the dance-lyrical extreme sections of the Minuet from the Seventh Sonata, on the contrary, a more mobile middle will appear (this is actually the case).
It is more difficult to realize in the Minuet a similar relationship within the main theme. For if the themes of the active or scherzo type do not lose their character when calmer or softer motives are included as a contrast, then the melodious, lyrical themes gravitate towards more homogeneous material and non-contrasting development. That is why in the Scherzo from the Second Sonata, the melodious trio is homogeneous, and the first theme contains some contrast, while in the Minuet from the Seventh Sonata, the more active trio is internally contrasting, and the main theme is melodically homogeneous.
But is it still possible to introduce a contrasting dynamic element into such a theme? Obviously, yes, but only not as a new motive in the main melodic voice, but as a short impulse in accompaniment. Taking into account the role of syncopation in Beethoven's work as such impulses, it is easy to understand that, given the general idea of the Minuet, the composer, of course, could introduce a syncopal accent into the accompaniment of the theme, and, of course, where it is most needed and possible with communicative point of view (on the decline of tension, during the relatively long sounding of the cadence quarter-sext-cord, that is, as if instead of the usual figurative filling of the rhythmic stop of the melody). It is possible that this communicative function was the initial one in the real creative process. And this already encourages that in the further development of the Minuet, the scherzo-dynamic element appears mainly in the form of short impulses. The intention to consistently carry out a struggle of opposite principles at different levels can lead to a happy idea to give lyrical syncopations in the theme as well, and thus make the comparison of different types of syncopation one of the means of realizing the main artistic discovery (a kind of subtheme of the second kind, which serves to solve the general theme of the play). ). The vicissitudes of the struggle that we have described above could also be deduced from this situation almost as "suggestive".
The quotation marks here, of course, point to the conventionality of such deductions, because in a work of art there are no elements and details that are neither absolutely necessary nor completely arbitrary. But everything is so free and unconstrained that it may seem the result of an arbitrary choice of the artist (an unrestricted game of his imagination), and at the same time, it is so motivated, artistically justified, organic that it often gives the impression of being the only possible one, while in reality the artist’s imagination could to suggest other solutions. The derivation, as it were, of some features of the structure of a work from a certain kind of data, which we use, is only that method of description that clearly reveals precisely the motivation, the organic nature of compositional decisions, the correspondence between the structure of the work and its creative task, its theme (in the general sense of the word), the natural realization of the theme at different levels of structure (of course, in some specific historical, stylistic and genre conditions). We also recall that such a “generating description” does not at all reproduce the process of creating a work by an artist.
Let us now deduce, based on the conditions known to us, the main motive of the Minuet, its initial turnover, which occupies the first three measures and a strong beat of the fourth. One of these conditions is the deep motive-intonational unity of the parts of the cycle, characteristic of Beethoven's style. Another is the already mentioned function of the Minuet, and above all of its main theme, as a kind of dawn, a quiet dawn after Largo. Naturally, with Beethoven's type of unity of the cycle, enlightenment will affect not only the general character of the music (in particular, the change of the eponymous minor to major): it will also manifest itself in the corresponding transformation of the very intonational sphere that dominates Largo. This is one of the secrets of the Minuet's especially bright impact when it was perceived immediately after Largo.
In the first Largo bar motif, the melody rotates in a diminished fourth range between the opening tone and the tonic minor third. Bar 3 contains a gradual decay from the third to the opening tone. The main motif of the side part also follows from it (we give an example from the exposition, that is, in the key of the dominant).
Here, a choreic intonation of the detention type is directed to the introductory tone (a quarter-sext chord resolves to the dominant), and the third top is taken by an octave jump.
If we now make the motif of the side part of Largo light and lyrical, that is, transfer it to a higher register, to major and replace the octave jump with a typical lyrical sixth V-III, then the intonational contours of the first motive of the Minuet will immediately appear. Indeed, in the motive of the Minuet, both the jump to the third top, and the progressive decline from it to the opening tone, and the delay to the last one are preserved. True, in this smoothly rounded motif, the opening tone, in contrast to the motif of the side part Largo, gets a resolution. But in the lyrical conclusion of the Minuet, where the same motif occurs in a low register, it ends precisely on the introductory tone, and the intonation of the detention is emphasized, stretched. Ultimately, the motivic formations under consideration go back to a gradual descent in the volume of a fourth, which opens the initial Presto of the sonata and dominates it. For the side part Largo and the Minuet motif, the beginning with an upward jump to the third degree of the mode and the delay to the introductory tone are specific.
Finally, it is important that in the final part of the Largo exposition (bars 21-22) the motif of the side part also appears in a low register (but not in the bass voice, that is, again, as in the Minuet), sounds forte, pathetic, and therefore quiet major main the motive from the addition of the Minuet appears with particular certainty as a pacification and enlightenment of the intonation sphere of Largo. And this is regardless of whether the arch described now reaches the consciousness of the listener or remains (which is much more likely) in the subconscious. In any case, the close intonational connection between the Minuet and Largo in a peculiar way sets off and sharpens their contrast, deepens and refines the very meaning of this contrast, and, consequently, enhances the impression made by the Minuet.
There is no need to dwell on the connections of the Minuet with other parts of the sonata. However, it is important to understand his main theme-melody not only as a result of the corresponding development of the intonational sphere of this cycle, in particular its genre transformation, but also as the implementation of the traditions inherited by Beethoven of the same melodic-dance, mobile-lyrical warehouse. We are now referring not to the expressive and structurally expressive primary complexes concentrated in the main motif (lyrical sixthness, lyrical syncopation, retention, jump with smooth filling, small wave), but, first of all, some successive connections of the general structure of the theme as a certain kind of square period with similar dance, song and song-dance periods of Mozart.
One of the features of the theme of Beethoven's Minuet is the beginning of the second sentence of the period a second higher than the first, in the key of the second degree. This also happened with Mozart. In Beethoven's Minuet, the possibility of sequential growth inherent in such a structure is realized: in the second sentence of the reprise inside the extreme sections, as we have seen, an ascending sequence is given. It is significant that its second link (G-dur) is partly perceived as the third one, since the first link (e-moll) is itself a sequential movement of the initial motive of the piece (this enhances the effect of growth).
Among Mozart's melodic-dance periods with the described structure, one can also find one in which the melodic and harmonic contours of the thematic core (that is, the first half of the sentence) are very close to the contours of the first motive of Beethoven's Minuet (the theme from the side group Allegro of Mozart's Piano Concerto in d-moll).
The melodies of the initial core of this theme and the theme of Beethoven's Minuet coincide note for note. The harmonization is also the same: T - D43 -T6. In the second sentence of the period, the initial core is similarly moved up by a second. The second halves of the first sentences are also close (gradual decline of the melody from the 5th to the 2nd degree of the scale).
Here, the very fact of the relationship between the theme of Beethoven's Minuet and one of the bright dance-singing side parts of Mozart's sonata (concert) allegro is indicative. But even more interesting are the differences: although the third peak in Mozart's initial motive is more prominent, the absence of lyrical syncopation and retention in it, a less even rhythm, in particular two sixteenths of a somewhat melismatic nature, make Mozart's turn, in contrast to Beethoven's, by no means close to romantic lyrics. And finally, the last one. A comparison of two related themes illustrates well the opposition of even and odd meters, which was discussed in the section “On the System of Musical Means”: it is clear to what extent the three-beat theme is (ceteris paribus) softer and more lyrical than the four-beat one.
L. Beethoven, Sonata No. 4 (op. 7) Es-Dur, part 2 -brief analysis of musical form
Piano Sonata Es-Dur op.7 (No. 4) was written in 1796-1797.
The tonality of the second part of the sonata (C-Dur) represents the tertian ratio to Es-Dur, which was often used by composers of the Romantic era.
Part shape- a kind of sonata form without development, characteristic of the slow parts of Beethoven's sonata-symphony cycles. Brief outline of the part:
Main part (8+16 volumes) C-Dur
Side batch (12 vol.) As-Dur-f-Des
Small development section (14 vol.)
Main part (8+15 volumes) C-Dur
Side lot (5t) C-Dur
Final section (8v) C-Dur
Koda (4 volumes) C-Dur
Main party is a section with three-part elements (24 volumes). The first 8 measures expose the main image in the form of a one-tone period with an intruding middle cadence. The next 16 measures represent the development of the main theme (6 volumes G-Dur), a reprise with a climax and a link to a side part.
Several origins can be found in the genre foundations of the main party. One of the most striking is the chorality, which manifests itself in the choral choral texture. The second genre source is recitation - the intonation of measured speech, combined with chanting. Another genre origin is hidden in the background thanks to the very slow tempo (Largo) - this is a three-beat danceability reminiscent of a landler.
In the process of development, the dance genre basis gradually comes to the fore (bars 9 - 12), connecting with the "decorations" in the melody, which manifests the influence of the era of classicism. Also, in the process of development, another genre basis appears - marching, associated with a dotted rhythm. The rhythm of the march is clearly shown in the reprise of the section of the main part in the chords on the forth.
The melody of the main part is restrained, of a rotating type, it is a descent from the top at the beginning to the tonic. The movement of the melody is mostly stepwise, singing the interval of the tonic third. In the middle section, the melody emphasizes the I and V steps of the dominant key (G-Dur) three times. In the reprise of the main part, the melody rises in waves to the climax (18 m.): here the fourth intonation of the main theme is reversed.
Subject side party is an example of a "derived contrast" from the main theme - its image is more melodious, individualized than the image of the main party. It is more "mosaic", divided into constructions of 4 measures, simultaneously combines the function of development, which is also facilitated by the instability of tonal development - the change of As-f-Des.
In the genre foundations of the side part, there is also chorality, thanks to the chord texture, declamation is more clearly manifested, thanks to semitone second intonations, and there are also associations with the march due to the dotted rhythm.
The melody is more aspiring, directed upwards (unlike the main part, where the movement is directed downwards). Also, the effect of aspiration upwards is facilitated by the repetition of the theme of the side part from higher sounds: Es - C - As
Function development in the form of a movement, a small section plays (14 measures), consisting of a dialogue (5 m.), a false reprise in B-Dur in the upper register (3 m.), a stretta on a descending fourth motif of the main part (2 m.), and a link to reprise (4 volumes).
reprise of the main part almost completely repeats the exposition material, reducing the connection to the side part by 1 measure. Smaller melismatics are added in the middle section, and at the climax, the aspiration to the top intensifies, thanks to the doubling of the fourth in the melody of the ascending fourth intonation in the lower voice.
The side part in the reprise is performed in the main key (C-Dur) in a highly abbreviated form, transferred to the lower voice, which brings it closer in character to the main theme and ends with an extended cadence in the main key, which can be regarded as the final section.
The last 6 measures of the movement can be denoted as code, built on the reharmonization of intonations of the main part.
It should be noted that the means intonation unification The principle of “growth” of the entire thematic material of the movement from one thematic “impulse” is characteristic of Beethoven throughout the entire movement.
Such an “impulse” here is represented by the first two motifs of the main part, from which all subsequent themes of the movement arise.
They consist of several "components":
1.Incremental upward movement per second
2. Rhythm: quarter (strong beat) - eighth
3.Quart downward jump to a strong beat
4. Dotted rhythm on a strong beat
5.Chord choral texture
All subsequent development is a "recombination" of these "components", placing them in new conditions and combinations.
Initially, a downward fourth intonation is paired with a dotted rhythm on the downbeat. Already in the reprise of the main part, we see the fourth intonation in an inverted, ascending form. In the side part, the fourth intonation is carried out in ascending form on the third beat.
The dotted rhythm in the main part is combined with the second intonation on a strong beat, and later in the side part on a weak beat, giving it aspiration. Later, the final section is based on the same dotted rhythm, in which the fourth interval becomes a third.
Conclusions: In the second part of Beethoven's Sonata No. 4 of the early period of creativity, one can notice the influence of music from the era of classicism (principles of constructing a sonata cycle, the presence of decorations), as well as features of the era of romanticism (terts tonal ratio of parts (I part - Es, II part - C) and parties (GP - C, PP - As)).
At the same time, one can already see the characteristic features of Beethoven's style of slow parts: restrained, philosophical lyrics, speech directed to many people, which is achieved by combining the genre foundations of choral accompaniment in chord accompaniment and declamation in melody. You can also see the origin of the principle of creating the entire musical material of the part from the intonations of the main theme, which would later be clearly manifested in Beethoven's symphonies.
The biggest difference between this sonata and the previous three is its pronounced romantic character. From the very first bars, the triplet texture creates a feeling of anxiety and movement. The side part does not carry a strong contrast with the main part, retaining the internal pulsation of triplets. The polyphonic development of the side part is also atypical, which before this sonata was not found in Beethoven's violin sonatas.
It is hard to believe that in such a fruitful period, Beethoven is acutely experiencing rapidly progressive deafness and incessant tinnitus.
The Fourth Sonata is in three movements. In my opinion, the cycle is completely unique in its modest volumes, which is very unusual for Beethoven, and in its concentrated presentation of musical material. The first and third parts of the sonata form a figurative arch. This is one of the few finales of violin sonatas, and indeed finals of that time, written in minor and continuing the development of the images of the first movement. D.F.Oistrakh described this sonata as "Small Kreutzer".
The dramatic I part and the dramatic finale are separated by the major Andante Scherzoso, which musicologists often call the “interlude” (in general, the arrangement of the frets is also unusual - more often we encounter fast major extreme parts and slow minor part II).
The fact that a sonata was written in a minor key is also unusual - at the dawn of the 19th century, a symphony, and even more so a sonata (which were composed most often for the entertainment of the public) in a major, were the norm. So the minor sonata was a rare exception; as a rule, by this the composer wanted to inform the listener of "the exceptional seriousness of this work." This circumstance alone makes us look at the artistic significance of the sonata cycle in a completely different light. Before Beethoven, the chamber genre was seen as light music for the listeners to relax. Thus, the use of minor keys in chamber music contradicted the very idea of secular concerts, since the minor key, most often, opens the sphere of dramatic, and very often tragic images to the listener. And the fact that the Fourth Sonata became the first minor of all ten tells us about the "romantic" content of this work.
The first movement is traditionally written in sonata Allegro form. In this case, it's a Presto sonata.
The action is actively unfolding from the first bars. The theme sounds in the piano part, its excited and even nervous character is emphasized by the grace note to the first beat and the rapid pulsation of the arpeggiated tonic chord in the bass (such a continuous and dynamic movement from the first bars of the work reminds me of the finale of Brahms' Third Violin Sonata in d-moll).
Beethoven Sonata No. 4
Brahms. Sonata No. 3, Finale
As B.V. Asafiev rightly noted, “Perhaps this paradoxical image - tense stability - best conveys the main quality of Beethoven's tonicity.”
In my opinion, the theme of the main game is a big sentence (22112) with an addition (4). I do not agree with R.A. Saifullin, who in his work “Semantics of Musical Text and Performing Recommendations” claims that the theme of the main part is written in a simple three-part form. He sets the boundaries as follows:
(bars 1-12) (bars 13-23) (bars 24-29)
In my opinion, the boundaries of the main party should be designated as:
Big offer
What Saifullin calls the second part of the main party, in my opinion, is the beginning of the connecting party. In turn, I would define its structure as 2 + 2 + 4 + 5:
This type of linking parts was found among composers of the late 18th and early 19th centuries, when the classical sonata form was not yet completely formed and was somewhere between classical and baroque. T. Kyureghyan called this type of sonata “pre-classical sonata form”, where the connecting part was a model and its sequenced repetitions with further modulation into the key of the side part.
This is by no means the only feature of "old times" in this sonata. The boundaries of the exposition-development and reprise-coda are marked with a reprise sign, which is typical for baroque suites and partitas; Haydn and Mozart used this form of form. Beethoven used it in Sonata op.10 No.2.
The musicologist Lenz calls form I of the Fourth Sonata a sonata, but at the same time makes a clarification that there is no other form like this in all musical literature.
The theme of the side part is based on a large sentence with structure 2222, it is repeated twice: in the violin part and the piano part. At the same time, the “opposite” also does not change: what the piano sounds at first is transferred to the violin. This enhances and deepens the emotional impact on the listener. In general, the use of polyphony in side parts is atypical for Beethoven, and was not previously encountered in his violin sonatas.
The first holding of the theme The second holding of the theme
The nature of the side part is calmer compared to the theme of the main part, but the calmness is somewhat imaginary, there is no balance here, the theme is very fluid, the whole is permeated with second intonations.
After the double passage of the theme, an addition of 8 bars sounds, also permeated with lamento intonations and imitations. So the side-batch scheme looks like this:
The final part "stands" on the tonic organ point, in turn, it also has its own microsections, which can be considered as a reduced model of the side part:
In the last section of the final game in the table, I indicated that there is a drop in apparent voltage. But what is important is that on the tonic organ point e-moll, a reduced introductory dis-fis-a-c sounds, and by overlapping each other, a feeling of strong tension is created.
Thus, this miniature exposition fits in only 67 measures, but such limited space does not prevent Beethoven from laying a stable rich thematic foundation and giving the first sprouts of development. Compared with the exposition, Beethoven gives a real, detailed, "Beethovenian" development - 95 bars. It is divided into several sections, which I have identified in accordance with the musical material undergoing development. In the table, I clearly marked the boundaries of the sections and identified the musical-thematic element that Beethoven develops in this section. In the text below the table, I described each of the sections in more detail, also indicated the initial sections of each of the sections:
The development reproduces the theme of the exposition clearly in chronology, bypassing only the side game.
In the first section, the first element of the main part is singled out, which Beethoven subjects to tonal and harmonic development. The first six measures in the bass of the piano sound the already familiar arpeggiated tonic triad, which takes us to the beginning of the exposition with its restless and impetuous character. But in the next 8 bars, this motive is joined by a bar-long continuation, which radically changes the nature of the sound. Now the violin and piano, as it were, throw a decisive and sharp challenge to each other, this motive sounds like a question and answer for both soloists, which, in turn, becomes a model for sequenced (tonal) development. A chord sounds on the first beat (with a grace note): and only in the first case it is D6 / 5 to d-moll, in the remaining three cases it is a reduced non-chord on D bass, creating a strong sound tension. But tension is created not only in the sound of the harmonic vertical, but also in the horizontal: in this descending line, an increased second is clearly distinguished, which further emphasizes the brokenness of the melodic pattern. In addition, this motif sounds unaccompanied, and a large number of pauses in the parts of both instruments “tear” the melodic fabric, finally giving the music a desperately rebellious character.
The melodic horizontal confidently rushes upward, thus building up tension, but the second section interrupts this trend with a few bars of abstract lyrics. This section is the smallest, only 7 measures, and, in my opinion, the lyrics here are imaginary, although a characteristic wide melody appears on the violin and ostinato figuration in the piano part. This section takes us away from the passions and anxieties we had at the beginning of development; but as imperceptibly this calm came, so imperceptibly it left us, which is replaced by the third section, where the descending element of the connecting part is subjected to tonal, harmonic, melodic and polyphonic development. In general, this element has already been laid in the second section in the major version, in which case these sections can be combined.
The entire third section oscillates between the keys of a-moll and d-moll and is built as a dialogue between soloists, the tension in which grows with each measure.
The fourth section can be titled as a "preface" to the new topic. He is completely on D a-moll and, as it were, prepares the most important development event - the emergence of a new theme. Here we see echoes of those polyphonic devices that Beethoven used in the final part of the exposition.
The appearance of a new theme is indeed a significant event in this form. The Preface - Section IV could have served as a traditional reprise preface, but Beethoven hadn't finished everything he had in mind yet, so the new theme in development was a great way to do it. This theme reminds me of the second theme of the side part in the finale of the Third Violin Sonata by Brahms, which I have already mentioned:
The form of the new theme can be defined as three 8-bar periods of re-building, the third of which opens and leads us straight to the reprise, to the reprise key of a-moll. All 3 periods are built on the same thematic material and are held in three different keys: a-moll, d-moll, B-dur. Modulations occur by mapping. In the latter case, the modulation of B-dur is a-moll, gradual: through D there is a deviation in d-moll, from the tonic quarter-sextakcord d-moll, without leaving the bass “a”, Beethoven goes to D of the main key a-moll.
The outline of the new theme looks like this:
The new theme stops the build-up of dramatic tension in the development, in my opinion, the beginnings of balance appear in it, something that did not exist before (I think that Brahms based himself on this theme when he wrote the finale of his Third Violin Sonata).
But in the last four bars of the theme, there is a crescendo, the tension builds momentarily, reminding us of all the events of the development, which leads us to a dynamized reprise.
The reprise lacks the theme of the linking part. The skeleton of the theme of the main part does not change, the same structure 22112 remains, but the addition is built according to a different principle: Beethoven singles out an element from the base - an ascending triad (which previously sounded in the piano part) and with the help of it modulates in C-dur (the key of the side part in reprise). The modulation process follows the table below:
The theme of the side game runs 2 times, just like in the exposition. But in the exposition there was an exact repetition of the theme with a rearrangement of voices. Beethoven retains this polyphonic device in the reprise, but the first passage sounds in C-dur, and the second passage of the theme, as it should be according to the laws of reprise, in the main key of A-moll.
The theme takes on a lighter sound, for a moment we even think that the sky has cleared up from dramatic collisions, but the addition (8 measures, as in the exposition) again brings us back to the real world of wrestling.
The final part is built in exactly the same way as in the exposition, the addition increases: 4 + 4 + 10, in which modulation occurs in d-moll. The reprise ends with the “beginning of development”, but the continuation does not follow. And the first exclamation of the violin on the grace note is interrupted, followed by the introduction of a new theme from the development, which, of course, is a unique feature of the form of this movement (although by position in the form the new theme is a coda)
The conduction is shortened, instead of 8-bar periods, Beethoven leaves only four bars, after which he modulates into a different key. The theme starts in a-moll, modulates through DD into a-moll.
Here is how the structure of the new theme looks schematically in the code:
In the second and third passages of the theme, there is a slight vertical permutation of the voices within the piano part.
Part I ends with pp, which is also uncharacteristic for Beethoven. Such an ending is, of course, part of the ideological design. It creates the effect of confusion, unfulfilled hopes, calm before further struggle for one's happiness.
As we can see, the structure of the I part of the Fourth Sonata is very atypical for Beethoven, but, on the other hand, we clearly see the hand of the master: sophisticated polyphonic techniques, play of keys, various modulations and, of course, very expressive and imaginative thematism.
So, in the first part we met a number of techniques that are not standard for the classical sonata Allegro. In contrast, Beethoven writes the second movement of the sonata Andante Scherzoso piu Allegretto in the most Viennese-classical sonata form, which, in turn, is very unusual for a slow part of a classical sonata cycle.
The French musicologist Lenz dubbed this part “spring song” not by chance, in character it would rather fit the 5th “Spring Sonata”: very simple, naive, light, it is the exact opposite of part I.
The theme of the main part is emphatically simple: the chords are functionally and structurally simple, the pauses that permeate the theme are very expressive. They seem to be filled with sounds, they are very reminiscent of the echo, which they will later become when the violin enters.
The theme of the main part is a simple two-part non-reprise form, its structure is indicated in the following table:
The connecting part here is the most complete, unlike the exposition, it is based on a new theme, and in form it is a Fugato with a tonal response, a retained counterposition and one stretto. Beethoven develops the inclinations of polyphonic development in the first part, in the third part they will reach their climax (Beethoven willingly used polyphonic techniques in genre-descriptive works, often to emphasize the scherzo character) The process of polyphonic development in Fugato is shown in the table, the “theme” is denoted by T, "answer" O, "counterposition" P:
The D addition to E-dur brings us to the theme of the side part, written in the form of an eight-bar period with extension and addition. To clarify how a typical eight-measure period takes 17 measures, I made a "non-square table" of the side part's theme, where I displayed all the repetitions, additions and expansions:
|
No repetition |
||
|
With repetitions |
4 + 4 (repeat with violin) |
4 + 5 (cadence extension) |
The side part has a very bright and recognizable figuration - a trill, chirping, which gives even greater lightness and naivety to the melody - and next time it will only be found in a reprise.
The final part is a simple two-part non-reprise form, divided into two different parts, in the first of which only a reminder of the events of the first part returns for a moment: a subito sf appears, an accentuated strong beat on the violin, but the touch of drama immediately disappears, leaving the dominance of the simple , unpretentious and melodious main theme of the final part. Thus, the scheme of the final game looks like this:
Thus, we see that each theme of the exposition is held twice, but it always starts with a piano solo.
The development is miniature, it fits in only 36 measures, it is not at all “Beethovenian”, not at all dramatic, it is built on the development of the themes of the main and connecting part.
The four bar that opens the development is the first four bar of the theme of the main part: the theme sounds in parallel fis-moll on the piano against the background of the ostinato dominant on the violin. The theme does not receive development, but flows into the theme of the connecting party, which undergoes changes in development.
There is no longer any opposition from the exposition, instead a two-bar motif appears, actively involved in polyphonic development, Beethoven uses vertical and horizontal permutations, polyphonic interaction is carried out between all three voices. All this happens against the background of continuous tonal development: fis-moll, G-dur, a-moll, h-moll.
In the following bars, the initial element of the Fugato theme is taken as the basis for the development, I think Beethoven deliberately oversimplifies it to imitative development, using the second leith intonation from the theme of the main part as a “counterposition”.
Meanwhile, the tonal movement continues, this time, in perfect fourths: h-moll, e-moll, a-moll, d-moll. From d-moll, with the help of a reduced seventh chord dis-fis-a-c, Beethoven falls on the dominant of the main key, thereby starting to prepare a reprise. It stays on D for 5 measures, then releases it too, leaving our hearing only the second late intonations of the theme of the main part, with which two soloists echo, after which we get into a reprise.
So, inside this small development there are no such obvious boundaries as in the development of Part I, but for convenience, several sections can be distinguished here:
In the reprise, changes in the main part are obvious from the first bars. In the violin part, a scherzo tune from sixteenth notes is added, accompanying the cadenzas. It gives a playful character to the music.
The trill in the piano part, sounding against the background of the second late intonations of the theme of the main part, gives a pastoral sound.
The second part of the theme of the main part is now accompanied by short-term undertones on spiccato by the violin, on a light staccato by the piano, which emphasizes the scherzo nature of the theme.
The theme of the main part is transformed, overgrown with undertones and embellishments, but the main structure of the theme does not change.
On the other hand, the appearance of the connecting part changes somewhat: firstly, the theme enters first at the violin, but then the theme no longer appears in the violin part, passing into the lower voices of the piano part. The theme is devoid of such polyphonic frills that we saw in the linking part of the exposition. There are only 2 full passages of the theme here, this is how this simplified scheme of polyphonic devices looks like in the theme of the connecting part in the recapitulation:
The themes of the side and final parts do not undergo any harmonic and structural changes, only, according to the rules of classical sonata form, they are transferred to the main key - in this case, to A-dur.
We see how strong and important for Beethoven is the concept and ideological concept of this sonata, for the embodiment of which the creation of such a contrasting image in the second movement was simply necessary: if you look at Andante Scherzoso even more carefully, we will not find harmonies here, more complicated than the usual seventh chord, The cadences here are emphatically transparent and clear; the pauses in the themes give them an exquisite simplicity and elegance.
Part II serves as an interlude, a "rest" between the dramatic Part I and the rebellious finale, which will be discussed now.
The finale is traditionally written in the form of a Rondo sonata. The structure of this part is complex, therefore, for convenience, I will immediately present a table-diagram of the part:
In my opinion, in the refrain Rondo 1, the metric measure is equal to two graphic measures, this is also suggested by the size of the movement - Alla brave. But in some episodes, 1 metric is equal to 1 graphic, so to avoid confusion, I will calculate the graphic cycles (the table also shows the count of graphic cycles).
The refrain is a very expressive theme, it combines contradictory features: epic-narrative, lyrical, with a touch of dramatic restlessness and bustle. The theme in the first sentence is held at the piano, his voices first move oppositely, then strictly parallel - this clear convention also creates a certain effect of sonority. And against the background of the theme, the D pedal of the violin sounds - all this in combination conveys an extraordinary state of excitement and at the same time detachment:
When the violin enters the theme, small figurations appear in the accompaniment in the middle voice, supported by a laconic bass - this subconsciously speeds up the movement, although the tempo remains the same.
In addition, there is an amplification and expansion of dynamic space due to crescendo and octave doublings. The refrain ends on f, which creates a more striking contrast with the subsequent first episode on p.
I think it's impossible to clearly define the form of the first episode. It uses the structure that composers usually use in developments and other parts where any development of musical material takes place. But this does not mean at all that the episode is devoid of a bright distinctive theme or motive, especially since the theme of the first episode is also the theme of the side part of the finale. In the following notation example, only the beginning of the theme is displayed:
The crown of the first episode is the reduced seventh chord, which brings a fresh harmonic stream compared to the diatonic refrain.
The new texture that Beethoven introduces here for the first time is also expressive - these are wide diverging waves-melodies of the piano and violin part, which push the boundaries of sound space, and also carry out tonal movement: h-moll, a-moll, e-moll. Below is just one of the links:
Numerous inter-measure syncopations also bring their own flavor to the sound:
But the most striking bars in this episode, one might say, in this sonata, are the bars of a soulful and laconic recitative that runs in both parts, which also refers us to the famous recitative of the piano sonata op. 31 No. 2:
This expressive recitative serves as a transition to the refrain. The refrains in this part follow without changes.
The second episode is the smallest of all, it refers us to the mood of the second part, it has features of light toccato.
In my opinion, in form it is a large sixteen-bar period with an extension. But this judgment is debatable: there is no middle cadence on D, which is usually a hallmark of the period. Here we meet 3 cadences modulating in h-moll, d-moll and a-moll. Moreover, the modulation into the main tonality occurs in an interesting way: Beethoven begins the cadence revolution as a traditional one. He takes the tonic, S with a sixth, followed by an altered S, which is already implied as a D to a minor, and not an altered S to d minor:
S with sixth Salt. = Da-moll
The third central episode is the most interesting. Looking at the notes, one involuntarily recalls medieval chorales and chants, which later romantic composers used as themes for variations:
Beethoven also wrote this episode as a variation on the theme presented in the music example above. The structure of the episode is quite transparent, but since the episode is large-scale, for convenience, we will draw up a scheme of variations, which reflects the texture and type of each group of variations:
In the episode, which I have designated as the fourth, there is a reminiscence of all three previous episodes. This segment of the form serves as a reprise of the part.
The side part-theme of the first episode, as expected, was transferred to the main key of a-moll.
The theme of the second episode is reduced to a sentence, at this location in the form it resembles a modulating move in B major, which brings us to the theme of the third episode.
Beethoven gives the opportunity for a variational development of this theme, but literally immediately modulates into the main a-moll and strives for completion, that is, for the final holding of the refrain. Here's what it looks like in sheet music:
The last passage of the refrain is dynamized; it does not differ from the previous ones in structure and harmony. But Beethoven initially changes the direction of the melody, thereby emphasizing the significance of the LAST refrain - the completion of the part and the whole sonata:
The tension is again pumped up, but already ready for its logical conclusion. The last 9 bars of the sonata in the violin and piano part sound confident arpeggiated triads, going symmetrically diverging in opposite directions, eventually reaching the last tonic consonance together:
1794 Ludwig van Beethoven lives in Vienna, is successful in the world, the love interests of a young man do not differ in either duration or depth - but they happen very often. But the main thing for a musician is the fame of a virtuoso performer, which is growing more and more ... However, the young musician is far from carefree enjoyment of success: in order to maintain and increase it, one must indulge the tastes of the public - often frivolous, greedy for external brilliance of virtuosity - sacrificing their own creative aspirations. Which way will the composer go?
Beethoven's genius allowed him to combine in his creations of this period the manifestations of his own creative individuality with the showiness that made such a favorable impression on the Viennese public. In the four-movement Sonata No. 2 in A major, which he created in 1796, there are also many virtuoso devices - such as passages or wide leaps, there is also a touch of humor that makes one recall Haydn's works, but there are also such features that are already at this time, the appearance of the future author of the "Appassionata" and the sonata "" is clearly outlined.
Thus, Beethoven's typical emphasis on pivot points appears already in the main part of the first movement (Allegro vivace) in a series of cadences. However, the "mischievous" appearance of the main part echoes the sonatas. But in the ratio of the main and secondary themes, one can no longer see Haydnian contrast at all - a languid and even impulsive side part anticipates romantic melodies. Syncopations, chromaticisms, tremolo in sixteenth notes accompanying the melody, as well as harmony give it special passion - here a small reduced seventh chord appears. At the time when the sonata was being created, it all seemed new. The melodic development of the side part ends at the climax with loud "shouts" announcing the beginning of the final part. It returns the atmosphere of carefree fun that reigned in the main party.
The heroic principle is primarily associated with the creative appearance of Beethoven, and it is also present in the A-major sonata. In development, one of the elements of the main part is transformed, approaching the fanfare intonation. The tremolo in sixteenth notes, which accompanied the side part in the exposition, gives it special tension - so the convergence of the elements that contrasted in the exposition gives rise to a fundamentally new image. A strong-willed sound is also acquired by another element of the main part, which in the exposition did not at all give the impression of an active one - but now its activity is enhanced by sequential development. Beethoven refracts the traditional classicist technique in a very original way - the dominant organ point before the reprise: here this section of the sonata form is preceded by a lull on the dominant harmony. This caesura of form becomes an expression of a passionate desire to return to the original images. The reprise does not introduce anything fundamentally new into them, but the lull at the end of the movement creates the impression of incompleteness, which is also quite typical of Beethoven's sonata cycles, which become especially solid due to this.
The characteristic features of Beethoven's style are even more clearly presented in the second part - Largo appassionato. Almost "violin" themes in their cantilena are set forth most often in the middle register - the richest, most conducive to "singing" on a keyboard instrument, only in the last performance it goes into a higher register (here the composer seems to entrust it to woodwinds with their "light » timbre). The theme acquires a special emotionality due to the rich texture. In this slow part, a contemplative mood dominates.
A striking contrast to the slow second movement is the third one, where the traditional minuet is replaced by a scherzo – and this is where the composer's innovation is manifested. The scherzo of the second sonata (Scherzo. Allegretto) still corresponds to the original meaning of this word - “joke”: there really is a fair amount of humor here. But there is also a cantilena beginning in the scherzo - it is concentrated in a trio.
In the finale (Rondo. Grazioso) the composer uses the rondo form. Elegance and virtuosic brilliance, so beloved by contemporaries, dominate here. However, the beaten rhythm, accents, and even individual fanfare intonations penetrating into the finale, here again demonstrate a typically Beethovenian “musical language”: a young composer, creating something that the public will surely like, nevertheless remains himself and opens up new paths in development. sonata genre. Despite the influence and felt here, Beethoven already declares himself as a composer of a very original character.
An interesting twist of fate awaited Sonata No. 2 in Russia: in 1910, Alexander Ivanovich Kuprin wrote the story "Garnet Bracelet", in which the second part of the sonata plays a very important role, becoming a kind of posthumous message from the hero to his beloved.
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