In the shadow of the stunning Largo e mesto, this Minuet remained, perhaps, somewhat underestimated. It has not attracted much attention from researchers and is not usually seen as a shining manifestation of the style and genius of its creator.

Meanwhile, Beethoven's logic of the struggle of contrasting principles found in the Minuet a peculiar and subtle embodiment. In addition, it anticipates the melodic features of subsequent composers - Schumann, Chopin. This, of course, does not make Beethoven's style close to romanticism: the difference between artistic concepts and outlook remains valid. But such anticipations constitute an essential aspect of Beethoven's work and once again testify to his striving for the future, to his significance for the further development of art.

The minuet in question is of a light lyrical character and was called "amiable" by Anton Rubinstein. In contrast to the main character of the play, there are some more active, dynamic elements, to a certain extent related to the genre of scherzo. And the main artistic discovery of the play consists in how the functions of various genre and stylistic components are distributed throughout the entire work, how the dance melody of the classical minuet anticipates mature romantic lyrics, and how these lyrics are combined with a scary element. Its detection and clarification is one of the tasks of the etude.
Another challenge is to demonstrate the different sides of the analytical method outlined in the previous parts of the book.
Within the three-part form da capo, the melodic extreme sections of the Minuet are opposed by the middle (trio) - more active, with sharply accented motives. It is inferior to the extreme in size and plays the role of shading contrast. The extreme sections, in turn, are also three-part, and in them - on a correspondingly smaller scale and with less sharpness of contrast - a similar ratio is reproduced: the initial period and the reprise set out and develop a dance-lyric melody, while the imitation middle is more mobile and approaches in character to an episode that could occur in a scherzo.
Finally, the dynamic element also permeates the main lyrical theme. This is just one syncopated "a" sound in the left-hand part, played sforzando in an ascending octave jump (see bar 7):
This moment may seem like only a detail, a separate particular touch, designed to add some piquancy to musical thought, to increase its interest. However, the further course of the play reveals the true meaning of this detail. Indeed, the impulse for the simulated middle of the first section is a similar upward octave pitch in bass with an emphasis (sf) on the second sound:
In the recap (inside the first section), the bass octave move and the syncope effect of the seventh measure of the theme are enhanced:
Finally, the trio also begins with a two-tone ascending motive forte in the bass - albeit a fourth, but then gradually expanding to an octave:
The trio ends with octave intonations of fortissimo, and moreover on the sound "a".
It becomes clear that the syncope of bars 7-8 really serves as an expression of a contrasting (relatively speaking, scherzous) beginning, carried out with great consistency throughout the whole piece. It is also obvious that the juxtaposition of the melodious-lyrical and the scherzous elements (on the basis of the dance 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 principle of multiple and concentrated effects already familiar to us).
Let us now pay attention to the first sound of the melody - again the syncopated "a". But this syncope is not dynamic, but lyrical. Such syncopations and their frequent use by Chopin (recall at least Waltz h-moll) have already been discussed in the section “On the relationship between the content and means of music”. Apparently, the initial lyrical syncope 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 section "The principle of combining functions", here various functions of the same medium are combined at a distance, and as a result, a play with the possibilities of syncope arises, which gives a great artistic effect: the syncopated "a" of bar 7 at the same time resembles the initial "a", and noticeably differs from him in its surprise and sharpness. In the next measure (8) - again a lyric syncope, beginning the second sentence. The juxtaposition of the scherzous and lyrical principles is thus also manifested in the described ratio of the two types of syncope.
It is not difficult to distinguish between them: scherzous syncopations are given sforzando in the bass voice and precede even (in this case, easy) bars (bar 8 in example 68, bar 32 in example 70); lyric ones do not have a sforzando shade, sound in a melody and precede the odd (heavy) bars (bars 1, 9 and 13 in example 68, bar 33 in example 70). At the climax of the play, as we shall see, these two types of syncopation merge.
Now consider the Minuet's initial turnover. It concentrates the intonations that became characteristic of lyrical melody in the 19th century: behind the syncope there is a typical sixth leap from the V step to the III, followed by a gradual decay and humming of the tonic d, including a delay to the opening tone. All this - with a relatively even rhythmic movement, legato, piano, dolce. Each of the listed means individually can, of course, be found in a wide variety of genre and stylistic conditions, but their entire totality is hardly. In addition, the role of turnover in a work, its fate in it, is important. Here this role is very significant, the motive is repeatedly repeated, asserted, strengthened.
For the further development of the piece, in particular, the alternation of legato and staccato in the second intonations of measures 5-6 (and in similar moments) is essential. This main meaningful opposition in the area of \u200b\u200bstrokes also serves here to combine the two main expressive principles of the play. Staccato brings in a touch of pungency that prepares the seventh bar syncope. The latter still sounds unexpected, violates the inertia of perception.
Above we discussed the meaning of this syncope in the Minuet's concept. But the meaningful function of syncope is combined here (this time in simultaneity) with the communicative one. Indeed, it is in the usual cadence, which is perceived inertly due to the familiarity of its form and, in addition, signifying a decrease in tension, that there is often a danger of a fall in the listener's interest as well. And syncope, breaking inertia, maintains this interest at the right time.
It is noteworthy that in the second sentence, built in general similar to the first, there is no such syncope (on the contrary, another lyric syncope appears. This makes the full cadence of the period stable in rhythmic terms. However, the absence of acute syncope also violates the inertia of perception, since it ( syncope) is already expected by analogy with the previous construction.As already mentioned in the section on inertia of perception, in such cases the disappeared, displaced (when repeating a section) element still appears in the future, that is, the artist somehow returns his "debt Here it happens immediately after the end (and repetition) of the period: the initial intonation of the middle - the mentioned octave move in bass with an emphasis on the second sound - is only new form the displaced element. Its appearance is perceived as desirable, falls on the prepared ground, captures favorable metric-syntactic positions (a strong part of the first measure of the new construction) and therefore can serve as an impulse, the effect of which extends to the entire middle.
This lively middle evokes an intensification of the lyrics in contrast: in the first sentence of the reprise, the melody begins against the background of the trill of the upper voice, unfolds more continuously, includes chromatic intonation (a - ais - h). The texture and harmony are enriched (deviation into the second stage tonality). But all this, in turn, entails a more active manifestation of the dynamic element.
The climax, the turning point and the original denouement occur in the second sentence of the reprise.
The sentence has been expanded by means of a bottom-up sequencing of the main lyrical motive. The climactic d is, in essence, the same lyrical syncope that began the whole play and this sentence. But here the syncopated sound of the melody is taken sforzando and precedes the even (light) bar, which was still characteristic of the scherzo syncopation. In addition, on the downbeat of the next measure, there is a dissonant altered chord, also played by sforzando (here the syncopation is of a higher order: the chord falls on a light bar). However, these manifestations of the scherzous element, which coincide with the culmination of the lyrical growth, are already subordinate to it: a chord with expressive semitone gravities of an increased 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 (before the trio). There is a combination in the simultaneity of two types of syncope, which expresses the fusion of the scherzous and lyrical principles, and the first obeys the second, as if dissolving in it. The climax could be likened here to the last attempt to playfully frown, immediately turning into a smile.
Such is the consistently carried out witty figurative drama of the main section. At the same time, it is natural that the lyrics, which had established themselves in the struggle, resulted in a wide melodic wave (the second sentence of the reprise), especially clearly reminiscent of the lyric plays of romantics. The sequential expansion of the recapitulation is quite common for 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 the smaller and the 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, the large wave also represents a jump with filling (in the broad sense): in its first half - during ascent - there are jumps, in the second - not. Perhaps this wave most likely resembles, in particular, the culmination and scale-like decline with chromatism in melody and harmony (with a smooth movement of all voices), the lyrics of Schumann.
Some other details are also characteristic of the post-Beethoven lyrics. Thus, the reprise ends with an imperfect cadence: the melody freezes on a fifth tone. The addition that follows the reprise ends in a similar way, which has the character of a dialogue (this addition also somewhat anticipates Schumann's music).
This time, even the dominant preceding the last tonic is not given in the basic form, but in the form of a terzquart chord - for the sake of unity with the harmonic structure of the entire complement and the main motive of Minuet. Such an ending to the play is an extremely unusual case for the Viennese classics. In the works of subsequent composers, imperfect final cadances are often encountered.
It has already been said above that the "farewell roll call" of registers, motives, timbres is often found in codes and additions. But, perhaps, such final juxtapositions in lyric music are especially impressive. In this case, the farewell dialogue is combined with the deepening of the lyrics, with its new look (as you know, in Beethoven's codes, the new quality of the image has become a fairly characteristic phenomenon). Minuet's initial motive not only sounds in a new way in the low register, but also changed melodiously: the holding of d - cis is now extended, it becomes more melodious 1. A metric transformation also took place: the beat on which the dominantterzquart chord fell at the beginning of the Minuet (with the retention of d in the melody) was light (second), here it became heavy (third). The bar, which contained the melodic turn of a-fis-e, was, on the contrary, heavy (first), and now it has turned into a light (second). The response motif in the upper voice also enhances the lyrical expressiveness of those intonations of the theme (a - h - a) on which it is built. The very selection of two motifs from an integral melodic line and their comparison in different voices and registers can make them more significant, present them as if in an increase (not rhythmic, but psychological). Recall that the decomposition of a certain unity into its constituent elements for a more complete perception of each of them, and then of the whole, is an important technique not only of scientific, but also of artistic knowledge (this was already discussed in the section "On artistic discovery" when analyzing Chopin's Barcarole) ...
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; but the listener remembers it and perceives - after the addition that deepens the expressiveness of its elements - the whole lyrical image is more complete and voluminous.
A subtle touch of addition is the alternation of natural and harmonic VI degrees in the melody. This technique, used by Beethoven in the final constructions and later works (for example, in the final part of the first movement of the Ninth Symphony, see bars 40-31 from the end of the exhibition), became widespread in the work of subsequent composers of the 19th century. The very same humming in the addition of the V scale of the scale with two chromatic auxiliary sounds b and gis might seem in the conditions of Minuet's diatonic melody insufficiently prepared, if chromatic intonations had not flickered in the melody earlier. Apparently, however, more important in this respect is the culmination harmony, which contains the sounds b and gis, gravitating towards a. In turn, this harmony - the only altered and unusually sounding chord in the entire piece - perhaps gets some additional justification in the a - b - a - gis - intonations mentioned above. In a word, the culminating harmony and the pacifying halftone singing of the V scale of the fret in addition, probably, form a certain 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 thematicism of the trio more briefly. It stands, as it were, in the opposite relation to the thematicism of the extreme parts. What is there in the background and has the character of a contrasting element that is overcome in the process of development comes to the fore in the trio (active ascending motives of two sounds). And vice versa, the subordinate (contrasting) motive within the trio, also surmounted and displaced at the end of this section, is the two-beat piano, the melodic-rhythmic figure of which resembles the turn of measures 2-3 of the main theme of Minuet, and the sound in the low register echoes the similar sound of the initial motive the main topic in the immediately preceding appendix.
Behind this simple relationship, however, lies a more complex one. It would seem that the theme of the trio is close to the themes of the contrasting main parts typical of the first allegros of Mozart. But, in addition to the fact that both elements of contrast are given against the background of the same triplet accompaniment, their relationship takes on a slightly different meaning. The second element, although it includes a retention, 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, a quiet and rhythmically even phrase here is not so much a soft or weak beginning as an imperturbably 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 the fact that it serves as a representative of the dominant element of the entire play, which has only temporarily faded into the background. Thus, the classic contrasting ratio of motives in the trio turns out to be as if ambivalent and is given with some mildly ironic tinge, which, in turn, serves as one of the expressions of the scaryness of this trio as a whole.
The general drama of the play is connected, as is clear from what has been said, with the displacement of the scherzous element by the lyric at different levels. In the topic itself, the first sentence contains acute syncope, the second does not. We have traced in detail the overcoming of the scherzous element in the three-part form of the first section. But after the quiet and gentle intonations of the lyrical addition, this element again invades as a trio, in order to then again be supplanted by the general reprise. We have distracted from repeating 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 than the trio. the logic of development: for example, after the first appearance of the addition, the imitation middle sounds again, beginning with the accented two-tone motives of the bass voice (see example 69), and after the repetition of the addition, there is a trio starting with a similar motive.
Having finished the analysis of the thematic material and the development of the play, let us now return to the anticipations we noted (in the extreme sections of the Minuet) of the later lyric melody. They, it would seem, were not at all caused either by the genre of the minuet in general, or by the nature of this play, which does not at all pretend to be a special emotional expression, developed songwriting, and a wide spread 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 intensified in the struggle with the scherzo-dynamic element and, as it were, is forced to put into action more and more new resources. Since this is carried out under conditions of severe restrictions imposed by the chosen genre and the general makeup of music, which do not allow a wide or violent outflow of emotions, melodic and other means are developing in the direction of the subtle lyrics of small plays by romantics. 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 also revealed. There are many lyrical minuets (for example, Mozart's) even more profoundly lyrical than this one. Minuets with all sorts of scherzous shades and accents are found in abundance among the Viennese classics. Finally, in minuets, combinations of lyrical elements with scary ones are not uncommon. But the consistently conducted drama of the struggle of these elements, in the process of which they seem to spur and strengthen each other, the struggle leading to a climax and a denouement with the dominance of the lyric beginning after it, is a specific, uniquely individual discovery of this particular Minuet and at the same time a discovery typically Beethoven in terms of extraordinary logic and vivid dialectic of drama (transformation of scherzous accents into one of the manifestations of lyrical climax). It also entailed a number of more private discoveries in the field of the described anticipations of the lyrics of nineteenth-century composers.
The originality of the play lies, however, in the fact that the means of post-Beethoven lyrics that have arisen in it are not given in all their strength: their action is restrained by the general character of the play (fast pace, dance, the significant role of staccato, the predominance of quiet sonata) 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, it is hardly necessary to accentuate the features of romantic lyrics when performing Minuet: immediately after Largo e mesto, they can only sound in an undertone. The analysis presented here, much like slow motion filming, inevitably highlights these features in too close-up, but only in order to better see and understand them, and then remind them of their real place in this play - albeit lyrical, but secular, witty and movable classic minuet. Perceived under its cover, within its restraining framework, these features give the music an inexplicable charm.
What has now been said about the Minuet also applies to one degree or another to some of the other works of early Beethoven or to their individual episodes. Suffice it to recall, for example, the mobile-lyrical opening theme of the Tenth Sonata (Q-dur, op. 14 No. 2), which is 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 twice (sequenced) above and above (measures 13-20), which also throws the arch towards the melodic of the future, especially to the typical drama of Tchaikovsky's melodic lines. But again, the almost finished mechanism of later lyrics was not put into full swing: the mobility of the theme, the comparative brevity of the detentions, grace notes, and finally, the Viennese-classical character of the accompaniment - all this restrains the emerging romantic expressiveness. Beethoven, apparently, proceeds in such episodes from the traditions of Rousseauist sensitive lyricism, however, he implements them in such a way that means are created that largely anticipate the future, although only in it will fully reveal their expressive possibilities (of course, under correspondingly different context conditions). will begin to act in full force. These observations and considerations, perhaps, provide some additional material to the problem "Early Beethoven and Romanticism."
In the previous exposition, the Minuet was considered as a relatively independent piece, and therefore references to its place in the sonata were limited to the necessary minimum. This approach is to a large extent justified, since parts of the classical cycles do possess a certain autonomy and allow for separate execution. It is natural, however, that the part exerts its full artistic influence only within the framework of the whole. And therefore, in order to understand the impression made by Minuet in the perception of the entire sonata, it is necessary to clarify the corresponding correlations and connections - first of all with the immediately preceding Largo. The analysis of these connections will be combined here with the demonstration of a certain way of describing the work - the way mentioned at the end of the section "On artistic discovery": we sort of deduce the structure and, in part, even the thematism of the play (at some levels) from its previously known creative task, its genre , functions in the sonata cycle, from the contained artistic discovery, as well as from the typical features of the composer's style and 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 the 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 movement of the sonata (it is also impossible to do without the fast middle movement, that is, to make the cycle three-part, since this finale could not balance Largo). Remains - in the conditions of early Beethoven's style - the only possibility - the 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 (here and there with a pastoral tinge: recall the theme, which begins against the background of a trill in the upper voice ).
But the classic minuet itself is a contrasting three-part form. And in those cases when he has a predominantly dance-lyrical character, his trio is more active. Such a trio can prepare the finale, and in this preparation lies the second function of the Minuet.
Remembering 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 scherzous) beginning 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 this assumption is a similar development (but with an inverse relationship of themes) in the fast middle section of the earlier Second Sonata. Indeed, in her Scherzo, the contrasting trio is naturally more calm, melodious. 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 scale (as well as the texture of the accompaniment) to the trio of the same Scherzo. In turn, the first bars of this episode (repeating quarters) directly follow from bars 3-4 of the main theme of the Scherzo, rhythmically contrasting with the more lively initial motives. It is therefore easy to expect that, on the contrary, a more mobile middle will appear in the dance-lyrical extreme sections of the Minuet from Sonata Seventh (this is actually the case).
It is more difficult to realize in the Minuet a similar relationship within the main theme. For if themes of an active or scary type do not lose their character, when calmer or softer motives are included in them as a contrast, melodious, lyrical themes tend to 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 not as a new motive in the main melodic voice, but as a short impulse to accompany it. Taking into account the role of syncopation in Beethoven's work as such impulses, it is easy to understand that with the given general idea of \u200b\u200bMinuet, the composer, of course, could introduce a syncope accent to accompany the theme, and, of course, where it is most needed and possible with a communicative points of view (on the decline of tension, during the relatively long sounding of the cadence quartsextcord, that is, as if instead of the usual figurative filling of the rhythmic stop of the melody). It is possible that in the real creative process this communicative function was the initial one. And this already prompts 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 the struggle of opposing principles at different levels can lead to the happy idea of \u200b\u200bgiving lyrical syncopations in the theme and thus making the comparison of different types of syncopation one of the means of realizing the main artistic discovery (a kind of sub-theme of the second kind, serving to solve the general theme of the play ). The vicissitudes of the struggle described above could also be deduced from this situation almost as "asking for".
Quotation marks here, of course, indicate the conventionality of this kind of derivation, because in a work of art there are no elements and details, either absolutely necessary or completely arbitrary. But everything is so free and unconstrained that it may seem the result of an arbitrary choice of the artist (the unrestricted play of his imagination), and at the same time it is so motivated, artistically justified, organic that it often gives the impression of the only possible, whereas in reality the artist's imagination could would suggest other solutions. The derivation of some features of the structure of a work from a certain kind of data, which we use, is just 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 meaning of the word), the natural realization of the theme at different levels of structure (of course, in some specific historical, stylistic and genre conditions). Let us also recall that such a “generative description” does not at all reproduce the process of creating a work by an artist.
Let us now deduce, proceeding from the conditions known to us, the main motive of Minuet, its initial revolution, which occupies the first three measures and a strong beat of the fourth. One of these conditions is the deep motivational-intonational unity of the cycle parts, characteristic of Beethoven's style. The other is the already mentioned function of Minuet, and above all of its main theme, as a kind of dawn, a quiet dawn after Largo. Naturally, with Beethoven's type of cycle unity, enlightenment will affect not only the general character of music (in particular, in the change of the eponymous minor to a major): it will also manifest itself in the corresponding transformation of the very intonational sphere that dominates in Largo. This is one of the secrets of the particularly striking influence of the Minuet when perceived immediately after Largo.
In the first bar of Largo, the melody rotates in the range of a diminished fourth between the opening tone and the tonic third of the minor. Measure 3 contains the progressive decay from the third to the opening tone. The main motive of the side part follows from it (we give an example from the exposition, that is, in the tonality of the dominant).
Here, the choreic intonation of the type of retention is directed towards the opening tone (the quarter-text chord is resolved into the dominant), and the tertz top is taken in an octave jump.
If now we make the motif of the side part Largo light and lyrical, that is, move it to a higher register, to major and replace the octave jump with a typical lyric sixth V-III, then the intonation contours of the first Minuet motive will immediately appear. Indeed, Minuet's motive retains both the leap to the top of the thirds, and the gradual decline from it to the opening tone, and the retention to the latter. True, in this smoothly rounded motif, the opening tone, in contrast to the motive of the side part Largo, gets permission. But in Minuet's lyrical conclusion, where the same motive runs in a low register, it ends precisely at the opening tone, and the intonation of the detention is emphasized, stretched. Ultimately, the motive formations under consideration go back to the gradual descent in the volume of the fourth, which opens the initial Presto of the sonata and dominates in it. For the side part Largo and Minuet's motive, the beginning with an ascending leap to the III degree of the scale and a delay to the opening tone are specific.

Finally, it is important that in the final part of the Largo exposition (bars 21-22) the motive of the side part also appears in the low register (but not in the bass voice, that is, again, as in the Minuet), sounds forte, pathetic, and therefore the quiet major main the motif from the Minuet's addition appears with particular certainty as the pacification and enlightenment of the Largo intonation sphere. And this is regardless of whether the arch described now reaches the listener's consciousness or remains (which is much more likely) in the subconscious. In any case, the close intonational connection between Minuet and Largo in a peculiar way accentuates and sharpens their contrast, deepens and clarifies the very meaning of this contrast, and, consequently, enhances the impression made by Minuet.
There is no need to dwell here on the Minuet's connections with other parts of the sonata. However, it is important to understand its main theme-melody not only as a result of the corresponding development of the intonation sphere of this cycle, in particular its genre transformation, but also as the implementation of Beethoven's inherited traditions of themes of the same melodic and danceable, mobile-lyrical make-up. We now mean not concentrated in the main motif expressive and structurally expressive primary complexes (lyrical sexist, lyric syncope, retention, leap with smooth filling, small wave), but above 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-valiant 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 II degree. This was also found in Mozart. In Beethoven's Minuet, the possibility of a sequential increase inherent in such a structure is realized: in the second sentence of the reprise, within the extreme sections, as we have seen, an ascending sequence is given. It is essential that its second link (G-dur) is partly perceived as the third, since the first link (e-minor) itself is a sequential displacement of the initial motive of the piece (this enhances the build-up effect).
Among Mozart's melodic and 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 (theme from the Allegro side-group of Mozart's Piano Concerto d-moll).
The melodies of the initial core of this theme and the theme of Beethoven's Minuet coincide note for note. 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 (the gradual decay of the melody from the V to the II degree of the scale).
The very fact of the relationship between the theme of Beethoven's Minuet and one of the bright dance-melodious side parts of Mozart's sonata (concert) allegro is indicative here. But the differences are even more interesting: although the top of the thirds in the initial motive of Mozart is more emphasized, the absence of lyrical syncope and retention in it, a less even rhythm, in particular the two sixteenth notes of a somewhat melismatic character, make Mozart's turn, in contrast to Beethoven's, by no means close to romantic lyrics. And finally, the last one. Comparison of two related themes well illustrates the opposition of even and odd meters, which was discussed in the section "On the System of Musical Means": it is clearly seen to what extent the three-beat theme is (all other things being equal) softer and more lyrical than the four-beat one.

What is the difference between the words: confession and monologue?

A monologue can be on any topic, confession is very personal, it is a state of mind of an individual.

Today we will listen to the music of L. Beethoven, about which the French writer R. Roldan said: "This is a monologue without words, a true confession, amazing, the likes of which can be found in music ... there is not a single word, but it is this music, clear to everyone" ...

Sounds I part Analysis.

Melody - bass - triplets.

Man - Man's sorrow - the world around.

How are these three components developing?

Tenderness, sadness, meditation. Measured, rocking motion of the middle voice. Then a pleading melody appears, a slight upward movement. “Is it really with me? - the person thinks. She passionately, persistently tries to go to light registers, but gradually the melody goes to the bass. The person dissolved in grief, went into it completely, and nature remained unchanged. Merged with trouble. The last chords are like covering a person with a heavy stove.

Sounds P part

What image did this melody inspire?

This is an island of little happiness. B. Aget called it "a flower between two abysses".

What is this lyrical part?

Some consider it to be a musical portrait of Juliet Guicardi, while others refrain from figurative explanations of the mysterious part. The intonations can be interpreted from unassuming grace to noticeable humor. The man, probably, fulfilled something long past, beloved, a corner of nature, a holiday, G. Neuhaus said that it is "A flower with drooping leaves."

Part III sounds

What associations have arisen?

Sounds like a storm sweeping away everything in its path. Four waves of sound, rolling with tremendous pressure. Each wave ends with two sharp blows - the elements are raging. But here comes the second theme. Her upper voice is wide, melodious: complains, protests. The state of extreme excitement is preserved thanks to the accompaniment - in the same movement as in the stormy beginning of part 3. Sometimes it seems that complete exhaustion sets in, but the person rises again to overcome suffering.

This is the dominant part of the sonata and the natural conclusion to its dramatic events. Everything here is like in the life of many people, for whom to live means to fight, to overcome suffering.

"Pathetic Sonata" No. 8

The sonata was written by L. Beethoven in 1798. The title belongs to the composer himself. From the Greek word "pathos" - with an uplifted, uplifting mood.This name refers to all three parts of the sonata, although this "uplifting" is expressed in each part in different ways.

I part written at a fast pace in the form of a sonata allegro. The beginning of the sonata is unusual "The slow introduction sounds gloomy and at the same time solemn. Heavy chords, the sound avalanche gradually moves up from the lower register. Menacing questions sound more insistently. They are answered by a gentle, melodious melody with a touch of supplication against the background of calm chords.

After the intro, a swift sonata allegro begins.

Main party resembles violently surging waves. Against the background of the restless bass, the melody of the upper voice rises and falls in alarm.

Binding Party gradually calms the excitement of the main theme, and leads to a melodic and melodious side party.

Contrary to the established rules in the sonatas of the Viennese classics, the side part of the "Pathetique Sonata" sounds not in the parallel major, but in the minor of the same name.

Test questions and assignments for students

1.What year was L, Beethoven born?

A) .1670,

B). 1870,

IN). 1770.

2. Where was Beethoven born?

A). In Bonn,

B). In Paris,

IN). In Bergen.

3. Who was Beethoven's teacher?

A). Handel G.F.

B). Nefe K.G.

IN). Mozart W.

4. At what age did Beethoven write the Moonlight Sonata?

A). At 50.

B). At 41.

IN). At 21.

5 . Just right for love for which woman Beethoven wrote “Moonlight Sonata?

A). Juliet Guicardi.

B) Juliet Capulet. IN). Josephine Deim.

6. What poet gave the name to Sonata No. 14 "Moonlight"?

A), And Schiller.

B). L. Relshtab.

IN). I. Shenkom.

7. What work does not belong to Beethoven's work?

A). "Pathetic Sonata".

B). "Heroic Symphony".

IN),. "Revolutionary study".

8. How many symphonies did Beethoven write?

Exercise 1.

Listen to two works, determine which of them by L. Beethoven by style, explain your opinion.

Sounds: "Prelude No. 7" by F. Chopin and "Sonata" No. 14, part 3 by L. Beethoven.

Symphony

Symphony (from the Greek συμφωνία - "consonance") is a genre of symphonic instrumental music of many-part forms of fundamental ideological content.

Due to the similarity in structure with sonata, the sonata and symphony are united under the general name “ sonata-symphonic cycle ". A classical symphony (in the form in which it is presented in the works of the Viennese classics - Haydn, Mozart and Beethoven) usually has four parts.

1st movement, at a fast pace, is written in sonata form;

2nd, in slow motion, written in the form of variations, rondo, rondo sonata, complex three-part

3rd - scherzo or minuet - in three-part form

4th movement, at a fast pace - in sonata form, in the form of a rondo or rondo sonata.

A program symphony is one that is associated with the well-known content set forth in the program and expressed, for example, in the title or epigraph, - Beethoven's Pastoral Symphony, Berlioz's Fantastic Symphony, Tchaikovsky's Winter Dreams Symphony No. 1, etc.

Assignments for students

Listening and analyzing excerpts from symphonies by the program of Cretan E. D. "Music".

Mozart Symphony No. 40, exposition.

1. To sing the main melody solfeggio, vocalise, on the text invented by yourself.

2. Listen and draw a melodic line of the main theme.

3. In the process of listening, draw the arisen artistic image.

4. Compose a rhythmic score for the WMI.

5. Learn the suggested rhythmic movements and compose rhythmic improvisations.

A. P. Borodin symphony No. 2 "Heroic"

1. The main theme: singing, playing metallophones, playing the piano.

2. Compare the musical image with the artistic one - A. Vasnetsov "Bogatyrs".

P. Tchaikovsky Symphony No. 4 final

1. Sing the main theme with pauses on the words of the song "There was a birch in the field."

2. Perform rhythmic accompaniment on noise musical instruments.

In this sonata, a new, not too long stage in the development of Beethoven's creative nature makes itself felt. Moving to Vienna, secular successes, the growing fame of the virtuoso pianist, numerous, but superficial, transient love interests.

Mental contradictions are obvious. Should one submit to the demands of the public, the world, find the path to their maximum satisfaction, or go one's own, difficult, difficult, but heroic way? Of course, the third moment comes - the lively, mobile emotionality of young years, the ability to easily, responsively surrender to everything that attracts with its brilliance and radiance.

Researchers have often been inclined to note the "concessions", the external virtuosity of this and subsequent Beethoven's piano sonatas.

Indeed, there are concessions, they are felt from the very first bars, the light humor of which matches Joseph Haydn. There are many virtuoso figures in the sonata; some of them (for example, horse racing, small scale technique, fast iterations of broken octaves) look both to the past and to the future (reminding Scarlatti, Clementi, but also Hummel, Weber).

However, listening intently, we notice that the content of Beethoven's individuality has been preserved, moreover, it is developing, moving forward.

First part sonatas (Allegro vivace, A-dur) are notable for the growing richness of the thematic composition, the scale of development.

Following the crafty, mischievous, “Haydn’s” opening of the main part (perhaps there is some irony in it at the address of “Haydn’s daddy”), there is a series of clearly rhythmic and brightly pianistically colored cadences (with Beethoven's favorite accents on the pivot points). This fun rhythmic game calls for mindless joys. The brilliant play of cadences is opposed in the side game by longing - already of an almost romantic nature. It is anticipated in the transition to the side game, marked by sighs of eighths alternating between right and left hands. When the rhythmic background of the tremolo of the sixteenths in the left hand (vol. 58, etc.) enters, the sighs of the right hand become alarming, passionately impulsive and pleading. Chromatisms of an excitedly rising melodic line, syncope, harmony - up to the favorite of romantics, the seventh chord of two small and one large third (later exploited immensely by Wagner in the opera Tristan and Isolde) - everything here sounds so new, so fresh! The cadances of the main party were fractional, the development of the side party was continuous:

But, reaching the climax and cutting off the growth of romantic languor with loud exclamations and their quiet echoes, Beethoven again plunges into the stream of cheerfulness, the brilliant fun of the final game. Here the decisive cadances are exceptionally boldly contrasted with the chromatic languor of the side party. The nature of the whole image is also being clarified. One cannot surrender with impunity to the joys of life - a thirst for depth, passionate feelings 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 the end. In development (where Lenz rightly found "symphonic development") a new element appears - heroic, fanfare. The fact that he (borrowed from the first element of the main part and transformed) is presented against the tremolating background of the sixteenths from the secondary part - one of the manifestations of Beethoven's harmonious logic. A way is outlined to overcome the anxieties and sorrows of personal life in the heroics of struggle, labor, and heroism.

The heroic beginning appears in development and further, where the second element of the main party is developed by sequential roll calls and sounds like orders of the will of such a "thoughtless", passive at first. The lull on the dominant before the reprise is Beethoven's original use of the classical organ point, with the aim of creating a fracture, a caesura of form and, at the same time, arousing a feeling of thirst for a return of the original images.

The reprise does not contain essentially new elements, and we will not dwell on it specially. Let us only note the deeply meaningful ending of both the exposition and the reprise with calmness, pauses (Beethoven later liked such ends). The bottom line is the emphasized lack of resolution, in, so to speak, interrogative results of the development of images. Such an ending aggravates the existing contradictions and attracts the listener's attention especially strongly.

In second part the sonata (Largo appassionato, D major) has more purely Beethoven features than in the slow movement of the previous sonata.

One cannot fail to notice the density and richness of texture, moments of rhythmic activity (by the way, the rhythmic background of the eighth notes "solders" the whole), clearly expressed melodiousness, the dominance of legato. It is no coincidence, of course, that the most melodious, middle register of the piano predominates (the last performance of the theme - as if with woodwind - sounds like a light contrast). Sincerity, warmth, richness of experience - these are the very characteristic, prevailing features of the Largo appassionato images. And these are new features, which, to a similar extent, were not in the piano work of either Haydn or Mozart. A. Rubinstein, of course, was right, finding here "a new world of creativity and sonority." Let us remind that AI Kuprin chose this Largo as the epigraph of his story "Pomegranate Bracelet", a symbol of Zheltkov's "great love" for Vera Nikolaevna.

The richness of Largo's emotional branches and shades is remarkable. The main theme, with its concentrated chorality (an early example of purely Beethoven's wise contemplation), serves as a pivot. And around this rod are twisted the light sadness of the "violin" (then "cello") intonations of gentle speech (p. 19) and the drama of the minor theme (p. 58).

Romain Rolland rightly noted the special importance of the slow movements of Beethoven's sonatas. Criticizing contemporary formalist professionals, Romain Rolland wrote: “Our musical era, which is more interested in construction than feeling, attaches less importance to adagio or andante than the first allegro of classical sonatas and symphonies. In the Beethoven era, the situation was different; 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 adagio, as well as in the songs of the same period (1795-1796) from "Wilhelm Meister".

Largo appassionato from the second sonata is an example of Beethoven's construction of the 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 echoes of the philosophical and religious trends of the era (it is indicative, in this respect, the last, as it were, purified from the "fleshly" theme of Largo). But the fact of the matter is that Beethoven only at times, and then indirectly, touches the religious sphere. He is dominated by the real life content of the persistent thoughts of people of his time over the ethical problems, 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, there is both struggle and overcoming. Lenz, who found here "a whole little oratorio", was right in his own way.

The contrast introduced by the subsequent scherzo (Аllegretto, A-dur) is great. The appearance of the scherzo (instead of the minuet) is indicative of innovation. Its essence lies in the need to revive the whole sonata with an element of joke, humor, and genre. In the scherzo of the second sonata, the gallant "squats" of the first theme are transformed by rude spontaneity and straightforwardness. And in the trio - melodiousness again.

IN final sonatas (Rondo, Grazioso, A-dur) Beethoven markedly chose the structure of a rondo with three main themes (and with a final conduction of the first theme); this structure he later especially willingly applies in his finals, as the most spacious, flexible and, at the same time, different from the sonata allegro.

Lenz is responsible for 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 charm of grace.

It seems to us that the great drop in tension and the dominance of the elegantly superficial in the finale is not the result of a mistake or failure, but of Beethoven's conscious intention, engendered by the composer's youthful enthusiasm and sly 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 grace. True, even in the finale, Beethoven's individuality makes itself felt - in the chasing of the rhythm, in the temperament of accents, in some fanfare intonations of minor fragments, in fresh, strong, tonal, rhythmic and textured turns of the development before the last appearance of the initial theme. But sharp corners, nevertheless, only show through, do not strike the eye. The young lion seemed to be tamed, forgot his wildness and independence. What a humble, polite cadence the rondo ends, and with it the whole sonata!

But let's not be fooled! Even if Beethoven was sincerely carried away by the "seductions of light". This is fleeting, as we know from many facts from the biography of the great musician. Under the cover of transient hobbies, a person of deep feelings, incorruptible will and enormous ethical requirements remains. In his heart, he, apparently, is already sneering at his own weaknesses and over the credulity of secular listeners, sneering and preparing for new creative exploits.

All musical quotes are from the edition: Beethoven. Sonatas for Piano. M., Muzgiz, 1946 (edited by F. Lamond), in two volumes. Measure numbering is also given for this edition.

Beethoven is a great maestro, a master of the sonata form, throughout his life he was looking for new facets of this genre, fresh ways to translate his ideas into it.

Until the end of his life, the composer was faithful to the classical canons, but in his search for a new sound he often went beyond the boundaries of style, finding himself on the verge of discovering a new, still unexplored romanticism. Beethoven's genius is that he brought the classical sonata to its peak and opened a window into a new world of composition.

Unusual examples of Beethoven's interpretation of the sonata cycle

Choking in the framework of the sonata form, the composer tried more and more often to move away from the traditional form and structure of the sonata cycle.

This can be seen already in the Second Sonata, where instead of the minuet he introduces a scherzo, which he will then do repeatedly. He makes extensive use of genres unconventional for sonatas:

• march: in sonatas Nos. 10, 12 and 28;
• instrumental recitatives: in Sonata No. 17;
• arioso: in Sonata No. 31.

He very freely interprets the sonata cycle itself. Taking his freedom with the traditions of alternating slow and fast parts, he begins with slow music Sonata No. 13, "Moonlight Sonata" No. 14. In Sonata No. 21, the so-called "Aurora" (), the final movement is preceded by a kind of introduction or introduction, which serves as the second movement. We can see the presence of a kind of slow overture in the first movement of Sonata No. 17.

Beethoven is not satisfied with the traditional number of parts in a sonata cycle. His Nos. 19, 20, 22, 24 are two-part. Sonatas 27, 32, more than ten sonatas have a four-part structure.

Not a single sonata allegro as such has sonatas # 13 and # 14.

Variations in Beethoven's Piano Sonatas

An important place in Beethoven's sonata masterpieces is occupied by parts interpreted in the form of variations. In general, the variation technique, variation as such, was widely used in his work. Over the years, it has gained a lot of freedom and has become unlike the classic variations.

The first movement of Sonata No. 12 is an excellent example of variations in the composition of the sonata form. For all its laconicism, this music expresses a wide range of emotions and states. The pastorality and contemplation of this beautiful part, no other form than variations could express so gracefully and sincerely.

The author himself called the state of this part "brooding awe." These reflections of a dreamy soul trapped in nature are deeply autobiographical. An attempt to get away from painful thoughts and plunge into contemplation of a beautiful environment, each time ends with the return of even darker thoughts. No wonder these variations are followed by a funeral march. Variation in this case is brilliantly used as a way of observing the internal struggle.

The second part of "Appassionata" is also full of such "reflections in oneself". It is no coincidence that some variations sound in the low register, plunging into dark thoughts, and then soar to the upper register, expressing the warmth of hope. The volatility of the music conveys the instability of the hero's mood.

The second part of “Appationata” is written in the form of variations ...

The finals of sonatas No. 30 and No. 32 were also written in the form of variations. The music of these parts is permeated with dreamy memories, it is not effective, but contemplative. Their themes are emphatically soulful and quivering, they are not acutely emotional, but rather restrained and melodious, like memories through the prism of past years. Each variation transforms the image of a passing dream. In the hero's heart, there is either hope, or the desire to fight, alternating with despair, then the return of the image of a dream.

Fugues in Beethoven's later sonatas

Beethoven enriches his variations with the new principle of the polyphonic approach to composition. Beethoven was so imbued with the polyphonic composition that he introduced it more and more. Polyphony serves as an integral part of the development in Sonata no. 28, the finale of Sonata no. 29 and 31.

In the later years of creativity, Beethoven designated the central philosophical idea, taking place in all works: the interconnection and interpenetration of contrasts into each other. The idea of \u200b\u200ba conflict between good and evil, light and darkness, which was so brightly and violently reflected in the middle years, is transformed by the end of his work into a deep thought that victory in trials does not come in heroic combat, but through rethinking and spiritual strength.

Therefore, in his later sonatas, he comes to the fugue, as the crown of dramatic development. He finally realized that he could be the result of music so dramatic and mournful that even life could not go on. Fugue is the only option. Thus, G. Neuhaus spoke about the final fugue of Sonata No. 29.

The most complicated fugue in Sonata No. 29 ...

After suffering and upheaval, when the last hope fades away, there are no emotions or feelings, only the ability to reflect remains. Cold sober reason, embodied in polyphony. On the other hand, there is an appeal to religion and unity with God.

It would be totally inappropriate to end such music with a cheerful rondo or calm variations. That would be a blatant inconsistency with her entire concept.

The fugue of the finale of Sonata No. 30 became a real nightmare for the performer. It's huge, two-dark and very complex. Creating this fugue, the composer tried to embody the idea of \u200b\u200bthe triumph of reason over emotions. There really are no strong emotions in it, the development of music is ascetic and thoughtful.

Sonata No. 31 also ends with a polyphonic ending. However, here, after a purely polyphonic fugue episode, the homophonic structure of texture returns, which suggests that the emotional and rational principles in our life are equal.

DEPARTMENT OF CULTURE OF SAKHALIN REGION

GOU SPU SAKHALIN SCHOOL OF ARTS

COURSE WORK

On the subject "Analysis

musical works "

topic: "Analysis of the final of the First

sonatas by L. Beethoven "

Performed by a V year student

specialty "Music theory"

Maksimova Natalia

Head Mamcheva N.A.

Reviewer

yuzhno-Sakhalinsk

WORK PLAN

I INTRODUCTION

1. Relevance of work

2. Goals and objectives of the work

II MAIN PART

1. A brief theoretical excursion into the topic

2. Detailed analysis and analysis of the finale of the 1st sonata

III CONCLUSION

IV APPENDIX-DIAGRAM

V

Beethoven is one of the greatest phenomena of world culture. “His work is on a par with the art of such titans of artistic thought like Tolstoy, Rembrandt, Shakespeare” 1. In terms of philosophical depth, democracy, boldness of innovation, "Beethoven has no equal in the musical art of Europe in past centuries" 2 The composer developed most of the existing genres of music. Beethoven is the last composer of the 19th century for whom the classical sonata is the most organic form of thinking. The world of his music is impressively diverse. Within the framework of the sonata form, Beethoven was able to expose the diverse types of musical thematicism to such freedom of development, to show such a vivid conflict of themes at the level of elements, which the composers of the 18th century did not even think about.

The sonata form attracted the composer with many, only inherent qualities: showing (exhibiting) musical images of different nature and content presented unlimited possibilities, “opposing them, pushing them together in an acute struggle and, following internal dynamics, revealing the process of interaction, interpenetration and transition in the end into a new quality "3

Thus, the deeper the contrast of images, the more dramatic the conflict, the more complex the process of development itself. And development in Beethoven becomes the main driving force behind the transformation of the sonata form. Thus, the sonata form becomes the basis for the overwhelming majority of Beethoven's works. According to Asafiev, "a wonderful prospect opened up before music: along with the rest of the manifestations of the spiritual culture of mankind, it [the sonata form] could express the complex and refined content of the ideas and feelings of the 19th century by its own means."

The principles of Beethoven's thinking were most fully and brilliantly crystallized in the two most central genres for him - the piano sonata and the symphony.

In his 32 piano sonatas, the composer, with the greatest penetration into the inner life of a person, recreated the world of his experiences and feelings.

This work is relevant because the analysis of the finale as the final part of the sonata is important for understanding the composer's musical thinking. A. Alshvang believes that artistic techniques and principles of thematic development give reason to consider the finale of the First Sonata "the initial link in a whole chain of stormy finals, up to the finale of" Appassionata ".

The purpose of the work is a detailed structural analysis of the finale of Beethoven's 1st Piano Sonata in order to trace the development and interaction of musical themes based on the sonata form. tasks of work.

II MAIN PART.

The origin of the sonata form dates back to the late 17th - early

XVIII centuries. Its features were most clearly manifested in the piano works of Domenico Scarlatti (1685-1757). They found their fullest expression in the works of F.E.Bach (1714-1788). The sonata form was finally established in the classical style - in the works of Haydn and Mozart. The pinnacle of this was the work of Beethoven, who embodied deep, universal ideas in his works. His works of sonata form are distinguished by the significance of scale, compositional complexity, and the dynamics of the development of the form as a whole.

V.N. Kholopova defines the sonata form as reprisal, based on the dramatic contrast of the main and secondary parts, on the tonal opposition of the main and secondary parts in the exposition and their tonal convergence or unification in the reprise. (Kholopov V.N.).

L.A. Mazel defines the sonata form as reprisal, in the first movement (exposition) of which there is a successive

two themes in different keys (main and subordinate), and in the reprise these themes are repeated in a different ratio, most often, tonally converging, and the most typical way of both themes is in the main key. (Mazel L. A. The structure of musical works. M .: Muzyka, 1986. p. 360).

I.V. The way is such a definition: a sonata form is called a form based on the opposition of two themes that, when first presented, contrast both thematically and tonally, and after development, both are repeated in the main key, i.e. tonally converge. (Sposobin I.V. Musical form. M .: Muzyka, 1980. p.189)

Thus, the sonata form is based on the interaction and development of at least two contrasting themes.

In general terms, the outline of a typical sonata form is as follows:

EXPOSITION

DEVELOPMENT

GP SP PP ZP

GP SP PP ZP

One of the main driving forces in sonata form is the contradiction, the contrast between the two themes. The impetuous theme is juxtaposed with a passionate but melodious, dramatic - with a calm, soft, disturbing - with a song, etc.

In general, a more active character is typical for the first theme (the main party).

The following selection of keys is typical for the side part:

1. In major works - usually the key of the major dominant, the third major step. Less often, the key is chosen for the sixth major step or the sixth low minor.

2. In minor pieces, a parallel major, minor dominant is more typical. Starting with Beethoven, the key of a major sixth low is encountered.

The sonata form contains several typical features:

1) The main party is usually a free formation or a period. This is a dynamic, highly active section.

2) Side party - more often an image of a different character. Usually tonally more stable than the main one, more complete in its development and usually larger in scale.

3) The connecting part - makes the transition to the side batch. Tone unstable, does not contain closed constructions. Contains 3 sections: initial (adjacent to the main party), developmental and final (pre-production).

4) The final part is, as a rule, a series of additions that confirm the tonality of the side part.

5) The development is characterized by general tonal instability. Mainly, the elements of the main and secondary party are developing.

In the course of its development, the sonata form was enriched with various modifications, for example: the sonata form with an episode instead of development, an abbreviated sonata form (without the middle part), etc.

As a rule, the sonata form is used in the first parts of sonata-symphonic cycles - sonatas, symphonies, instrumental quartets, quintets, as well as opera overtures. This form is often used in the finals of sonata-symphonic cycles, sometimes in slow movements.

In general, the drama of the parts of the STS is as follows:

Part I. As a rule, active, efficient. Exposure of contrasting images, conflict.

Part II. Lyric center.

Part III. Genre and everyday character.

Part IV. The final. Summing up, conclusion of the idea.

The sonata is usually in three movements.

The first piano sonata in f moll (1796) begins a line of tragic and dramatic works. It clearly shows the features of the "mature" style, although chronologically it is within the early period. Its first movement and finale are characterized by emotional tension and tragic acuteness. Adagio opens up a number of beautiful slow movements in Beethoven's music. “The finale of the sonata - Prestissimo - stands out sharply from the finale of its predecessors. Stormy, passionate character, rumbling arpeggios, bright motive and dynamic contrasts ”1. Here the finale plays the role of a dramatic peak.

The finale of the 1st sonata is written in the form of a sonata allegro with an episode instead of a development and developmental elements.

The exposition begins with main party in F minor at the Prestissimo tempo "very fast", in free formation. This part is already based on 2 contrasting themes - a dramatic active-volitional "in F minor" and a song and dance "in A flat major"

1st topic - very energetic and expressive, thanks to the swift triplet accompaniment.

Already on the example of the first two measures, one can notice Beethoven's favorite technique - the contrast of the elements of the theme:

1) Textured contrast:

In the lower part there is an active triplet movement.

The top part has a massive chord texture.

2) Dynamic contrast: the first motive - on p ("piano" - quiet), the second - on ("forte" - loud)

3) Register contrast: “quiet motive in the middle register, loud - low and high without filling in the middle register, (range E - c 3).

4) Contrast "sonic": - the bottom part - continuous "flowing" presentation, the top - dry abrupt chords.

2nd topic- differs sharply from the first. It is based on a song and dance genre.

The texture of this theme is more rarefied - long durations - halves appeared, while in the first theme the triplet movement was based on eighths.

1. Tonal contrast: the first phrase is in A-flat major, the second - in F minor.

2. "Characteristic", pictorial contrast: the first phrase is of a dance-song nature, in the second - a new touch is introduced - tr (trill), which emphasizes some fervor of the phrase. The structure of the second theme is built on the principle of summation - short motives and chants.

3. In the second topic there is a contrast of registers.

B. vt 6-7 the beginning of the phrase is located in the middle register (range g - as 2), then (vt 8-9) the theme "spreads" in opposite directions without filling the middle (range c - c 3).

Carrying out the second phrase immediately begins in a tight location in the middle register (range e 1 - f 2).

In addition, the A-flat major phrase plays an important dramatic role in the finale: this tonality and intonation anticipates the subsequent episode.

Thus, within the main party there already exists a vivid conflict at the level of two themes: a tonal conflict (juxtaposition of f moll and As dur), a thematic conflict, as mentioned above, a dynamic conflict (the first theme is a juxtaposition of p and, the second - p)

For a figurative comparison, the contrast of strokes is also important. 1st theme - abrupt staccato, 2nd theme - non legato and legato.

The second theme of the main party introduces directly into the linking party.

The next section is linking party - forms, together with the main one, a certain 3-part form, the middle of which is the second theme of Ch. party, since the binder is based on the thematicism of the 1st theme.

The connecting part is emphasized by an even greater contrast of dynamics (p and ff, see vols. 13 - 14) and is built entirely on the harmony of DD, as a precursor to the side part.

Thus, the linking batch combines the initial and pre-production sections at the same time.

The two-bar transition to the bunch is marked with double __ ("fortissimo" - very loud, strong).

Side batch consists of two contrasting sections - the so-called 1 side batch and 2 side batch.

Thus, the side part is written in two particular forms - in relation to the main one, a structural contrast is formed. The tonality of the minor dominant (c minor) chosen for her - which is, in general, typical of classical sonata forms - forms the most important feature of the sonata form exposure - tonal contrast. With the introduction of the side part, a thematic and figurative contrast with the main part appears. The first side game is dramatic. This is emphasized by the abundance of unstable harmonies, fluidity of presentation, continuous triplet, dynamism, wave-like movement. It is characterized by tension. The rich range of the melodic line and "pivot points" - from es 1 to as 2 and descent to d - emphasizes the impetuosity of feelings - the whole theme occupies at first the middle register, then covers the middle and high, and at the end - the low register (in the lower part - C one).

The second side game is written in the form of a re-presentation period. It contrasts thematically with the first side. Its basis is song. Large lengths (quarters in comparison with the triplet presentation of eighths of the first secondary), legato, "quiet" dynamics, melodiously descending phrases, clear structure and song character, lyricism of the image, light, sad mood.

Nevertheless, there is some affinity between the themes: the triplet movement in the lower part (in relation to the second theme, it is more appropriate to speak of the accompaniment). Within the theme there are deviations in Es dur - this gives some enlightenment to the image.

Side batch leads to bright dynamic the final batch , consisting of a number of additions and built on the material of the first theme of the main party. The final section returns an active volitional image. The first time it is taken, it returns to the original key f moll, so that the entire exposure is repeated. In the second run, it leads to a new section - episode in the key of As dur.

The introduction of the episode is explained by the fact that the images of the main and secondary parts were not brightly contrasted, and therefore the episode of the finale of Beethoven's first sonata is lyrical digression after stormy minor "statements". The elegiac character is emphasized by the semper piano e dolce (quiet, gentle all the time).

The episode is written in a simple 2-part form and has a number of elaborate elements that will be discussed later.

Part 1 of the episode is a 20-bar period. His canted theme "grew", if we compare, from the second theme of the main party. This theme is characterized by melodiousness and dance character. The structure of the theme is built on the principle of summation: small chanting motives and then song ornamented phrase.

The second theme contrasts with the first only thematically. Throughout the episode, the lyrical, song-like image dominates.

The further developmental part is interesting in comparison of topics. One would expect the development of elements of the main and side parties. But, since the latter was also dramatic in nature, the development compares the elements of the main part and the episode as a struggle between a dramatic active line and lyrically - a song one.

The contrast between these elements is significant. If in the main part the chords were expressed vividly dynamically, then in development they are in pp ("pianissimo" - very quiet). And, on the contrary, the theme of the episode implied a gentle lyrical performance, here - an emphasis on ___ ("sforzando" - suddenly loud).

In the developmental part, 3 sections can be distinguished: the first 10 measures are the initial section, based on the thematicism of the main part and episode, and so far "growing" from the previous key.

The next 8 bars are a developmental section, based on the brightly accentuated elements of the episode's theme. And the last section (the next 11 bars) is the pre-ordinary section in the reprise, where the last 7 bars on the dominant organ point to f moll, against which the elements of the main part are developed, thereby preparing the transition to the reprise.

Reprise, as in the exposition, begins with Ch. etc. in the main key f moll. But, unlike the exposition, the length of the second theme is no longer 8, but 12 tons. This is explained by the need for a tonal convergence of the party. As a result, the ending of the second topic has been slightly changed.

The connecting batch of the reprise also based on the first theme of the main installment. But now it is built on the dominant precursor to f minor, bringing both parts closer to the main key.

Side part of the reprise differs from the secondary part of the exposure only in tonality.

Only in the final batchchanges are observed. The elements of the first theme of the main installment are now presented not in the upper part, but in the lower part.

At the end of the finale, an active volitional principle is affirmed.

On the whole, “tragic notes, stubborn struggle, protest are heard in the first sonata. Beethoven will return to these images in the "Moonlight Sonata", "Pathetique", "Appassionata" 1.

Conclusion:

The form piece of music it is always the expression of an idea.

On the example of the analysis of the finale of the 1st sonata, one can trace the principle of the Viennese classical school - unity and struggle of opposites. Thus, the form of the work plays a major role in the figurative drama of the work.

Beethoven, preserving the classical harmony of the sonata form, enriched it with vivid artistic techniques - a bright conflict of themes, a sharp struggle, work on the contrast of elements already within the theme.

For Beethoven, a piano sonata is equivalent to a symphony. His achievements in the field of the piano style are colossal.

“Expanding the range of sounding to the limits, Beethoven revealed the previously unknown expressive properties of the extreme registers: the poetry of high, airy transparent tones and the rebellious rumble of bass. With Beethoven, any kind of figuration, any passage or short scale acquires semantic significance ”2.

The style of Beethoven's pianism largely determined the future development of piano music in the 19th and subsequent centuries.

LIST OF USED LITERATURE

1. Bonfeld M.Sh.

2. Galatskaya V.S. Musical literature of foreign countries. Issue 3.M .: Music, 1974

3. Grigorovich VB Great musicians of Western Europe. M .: Education, 1982

4. Konen V.D. History of foreign music. Issue 3.M .: Music, 1976

5. Kyuregyan T.S.

6. Mazel L.A. The structure of musical works. Moscow: Music, 1986

7. Sposobin I.V. Musical form. Moscow: Music, 1980

8. Tyulin Yu. Musical form. Moscow: Music, 1974

exposition				episode	reprise				Code
				Episode + development
Free buildings		2x private	A number of additional