We continue the list of Beethoven's famous 32 sonatas for piano. On this page you will see brief information about the second sonata from this cycle.

Brief information:

• Piece number: Or.2, No. 2
• Key: A major
• Synonyms: Beethoven's second piano sonata
• Number of parts: 4
• When was it published: 1796 year
• Who is dedicated to: like the other two works of this opus ( and the third sonatas), this work is also dedicated to Joseph Haydn, by that time already a former teacher of Beethoven.

Brief description of Sonata No. 2.

Renowned musicologist Donald Tovey described this work as "An impeccably executed piece that is outside the tradition of Haydn and Mozart in terms of both harmony and dramatic thought, with the exception of the Finale.".

This work comes into a strong contrast between the first and third sonatas, published under the same opus. In fact, if we contrast the character of the second sonata with most of Beethoven's other works, then we can assume that at that time (and these were) the composer, as it were looking for some kind of compromise.

On the one hand, we can see the inclinations of “late Beethoven” in the first works of the composer, including from the same opus, where the aggressive (in a good way) Beethoven's temperament is simply impossible not to notice. But on the other hand, the rapidly growing fame of the young virtuoso pianist and his acquaintance with influential Viennese aristocrats, as it were, “kept the composer’s emotions in check”, forcing him to imitate the format of the composition of that time.

After all, Beethoven in those days was known not so much as a composer, but as virtuoso pianist... Therefore, it was too early for a composer, who was not yet quite successful, to throw out all his temperament on the sheet of music - and, most likely, the audience would not have understood him.

Moreover, the sonata was dedicated not to anyone, but to himself Haydn, who, as we know, was a staunch conservative in the field of composition and did not particularly approve of the innovative ideas of his student Ludwig. Therefore, the young composer at that time still could not afford to release all his composer's power, hidden in the shadows, on creative freedom. Moreover, in the first sonata Beethoven left a visible imprint of his characteristic temperament.

Indeed, if you compare all the parts of this work with the First Sonata with a quick glance, you can immediately find that in the aggregate, the Second Sonata is not at all filled with the same, characteristic of the later works of the composer drama, which you and I clearly observe in the previous work.

On the contrary, in Beethoven's second sonata we see the same "major" not only in the key, but also observe it in the character of the work itself. However, even in this seemingly compromise sonata, Beethoven's style still skips in places.

We listen to the piece in parts

As in the case of the first sonata of this opus, the second sonata consists of four parts:

1. Allegro vivace
2. Largo appassionato (D major)
3. Scherzo: Allegretto
4. Rondo: Grazioso

Part 1. Allegro vivace

The first movement is a rather bright and rich piece, combining both the humorous notes of Haydn's sonatas (literally from the first notes) and serious virtuoso elements, including scale-like movements in 16 triplets in the main part.

However, the playful "Haydn" introduction, as well as the rhythmically clear and at the same time cheerful play of the "Beethoven" cadances, which at first promise fun and joy, are gradually being replaced by an almost romantic side part starting in E minor.

The minor opening of the side game is moving forward with excitement and, as it were, climbing upward, becomes more and more alarming. And suddenly, already at the very climax, as if deceiving the listener, the melody shouts: “Well, listener, have you fallen for deception? - There is nothing to be sad, this is a major! " - and from this moment we again hear notes of joy.

In general, listen to yourself:

Movement 2. Largo appassionato (D major)

It is quite a rare case in the repertoire of Beethoven's compositions when the composer uses such a slow tempo mark as “Largo”.

In this movement, a high degree of contrapuntal thinking of Beethoven himself is evident, with minimal influence from the style of the older composers.

From the first notes, the melody willy-nilly imposes an association with some quartet... It feels like the melody really was first written for a string quartet, and then just transferred to the piano keyboard.

It is interesting to imagine what it was like for the pianists of that time to bring this idea of \u200b\u200bthe composer into reality, taking into account the peculiarities of sound production on the instruments of that time!

In general, you can listen to part 2 of Beethoven's second sonata in the video below:

Part 3. Scherzo: Allegretto

Although "Scherzo" is used here, one might say, instead of the traditional minuet, it still very much resembles a minuet.

Short yet graceful movement, starting with cheerful and playful notes and ending with them, in the middle is diluted with a rather contrasting and interesting "Trio".

Part 4. Rondo: Grazioso

On the one hand, there is a beautiful and lyrical rondo, but on the other hand, many musicologists consider it a kind of “concession” to the young Beethoven.

If in the first two parts of this sonata Beethoven's emotionality is still visible, in the fourth part many people observe an almost mathematically planned logical conclusion.

As if Beethoven in this part did not express his emotions, but showed what the Viennese public was used to and wanted to hear. There is even an opinion that Beethoven in this way kind of mocks the Viennese public, they say "If you wanted this kind of music, then get it!"

Although, in some details, Beethoven's temperament is still visible. Only here the storm does not sweep away everything in its path, but only sometimes makes itself felt!

A holistic analysis of the content and form of the Sonata Op. 31 No. 2 in D minor (No. 17)

Piano Sonata in D minor, op. 31 No. 2, was written by L. van Beethoven in 1802, together with sonatas No. 16 and No. 18. Unofficial titles: "The Tempest", "Sonata with Recitative", "Shakespeare's Sonata". It is believed that Sonata No. 17 is a psychological portrait of the composer himself. Unlike other sonatas, it is performed without dedication. 1802 is a period of tragic reflections, dark feelings, thoughts of suicide due to deafness, the collapse of hopes for personal happiness. It was in 1802 that the composer wrote the famous "Heiligenstadt testament" (see Appendix 1). After the death of L. van Beethoven, several documents were found in a secret drawer of his closet, to which he apparently attached particular importance. One of these documents was a piercing letter he wrote in October 1802 in the village of Geiligenstadt near Vienna and called the "Heiligenstadt Testament."

The dramatic outlook appeared in the seventeenth sonata not only in the figurative and intonation plan, but also in the freer, improvisational logic of constructing the musical form, the through development of thematicism. This sonata continues the line of sonatas-fantasies with intense lyric-dramatic development, so there are no clear cadences between the sections of the sonata form in it, most often the end of one section is at the same time the beginning of another. Such a combination is possible due to the musical characteristics of the sonata themes, which often begin and end with dominant harmony. It should be said that tense dominant harmony (usually in the form of a seventh chord) is used here more often than stable harmonies, which creates a strong tension and aspiration of the sonata's musical movement. In this sonata, as well as in some of the previous ones, L. van Beethoven again returns to pathetic moods, to the epic and majestic flow of images of his first allegro and largo. It is remarkable that more and more new searches for dramatic expressiveness make L. van Beethoven, as it were, overstep the limits of purely instrumental techniques. The whole piano palette, even enriched with echoes of symphonic timbres, is not enough for him. And in the development of the allegro of this sonata, a recitative of a vocal type appears, so expressive that we seem to hear a word that has not yet been uttered, which will sound many years later in the vocal part of the Ninth Symphony. The melodic material of the middle part of adagio is also noted with extraordinary expressiveness. The melody takes place against the background of short tremolating timpani beats, like a living voice, strict and persuasive. These speech intonations are replaced by a spontaneous beginning in a wonderful finale, which creates the impression of either a light movement of the wind or a stormy whirlwind.

Sonata No. 17 continues the line of sonatas-fantasies: lyric-psychological, passionate tone of expression, psychological contrasts of a high level of tension, techniques of improvisational, fantasy music, but unlike Sonata No. 14, it has no title "Sonataquasiuna Fantasia". The content of the sonata is the lyrics of a passionate, stormy, dramatized sound, a return to pathos, but with psychological comprehension. The cycle has three parts, outwardly classical structure: Largo - Allegro, d-moll; Adagio, B major; Allegretto, d-moll. Each part is written in the sonata form of various options, complicated by signs of other forms: fantasy (elements, structure, methods of development), variability (all themes in all parts are based on common elements as options), end-to-end form (there are no exact reprisal repetitions).

The first movement is a complete sonata form, but thanks to its individual thematism, it has a number of sharply innovative musical ideas in drama, composition and language. The main part (measures 1 - 20) in the exposition is built on two contrasting elements: arpeggiato and ario-recitative descending second intonation-sighs. The first construction, d-moll, starts with a dominant function. The second construction of the main part is a variant of the initial one, but in the key of F-major, with the expansion of the structure and intonation and modal-tonal development. These two constructions have a kind of introductory meaning - in the course of a free improvisational presentation, a gradual crystallization of thought occurs. It acquires a clear design only in the third structure, which plays a connecting role, but, despite this, it does not have a single stable, in the full sense of the word, exposition structure. The image is revealed from the very beginning in the process of growth and development. The main batch has the form of a period, which consists of two sentences. The first sentence is 6 measures (2 + 4) with a cadence on the dominant, the second sentence is 14 measures (2 + 12) with a cadence on the tonic d-moll that invades the connecting section. The period with expansion, since the second sentence expands in the cadence zone by 6 measures due to the dramatic recitative against the background of the cadence quarter-text chord. The first sentence consists of two phrases - one phrase is 2 measures, and the second is 4 measures. The second sentence also consists of two phrases - one is 2 measures, and the second is a long one of 12 measures. This phrase is based on a number of motives, which are sequentially repeated in an upward direction, then in a downward and last chromatized final motive in the main part. This period has a type of scale-thematic structure - summation. The period has a type of repeated structure, since the beginnings of two sentences are the same with the only difference that they sound in different keys. Both sentences consist of two parts based on intonationally contrasting elements.

The first phrase of the main theme (2 measures) is based on the first element - an arpeggiated ascending sixth chord (dominant in the first sentence, in the second on the dominant to III degree). By nature, he is interrogative-contemplative. In its genre foundations, signaling (more precisely, the sound of fanfare) and declamation can be designated. Although the genre basis of the fanfare is very veiled by the dynamics of pianissimo and the improvisational free rhythm, the declamation sounds like a quiet question hanging on the dominant.

The second construction of the main theme, dramatic in nature, consists of the second and third elements. The intonations of the second element are directed downward. In the genre foundations, declamation is clearly manifested, especially lamento intonation - a second descent with an emphasis on the first note - from this mini-intonation the entire melodic line of the first sentence is completely built, outlining the Phrygian turnover in minor with basic sounds, first from A, then from D. And in the second sentence, the rhythmic division of two eighth notes is preserved, and the melodic movement is dynamized, large leaps appear, wave-like rising to the culmination in measure 13 and breaking down to the tonic. Also in this part of the theme, the third element appears, the genre basis of which is associated with a march based on a uniform chord accompaniment. In the second sentence, this chord accompaniment on weak beats (2 and 4) gives the opposite effect of "out of breath".

The harmony of the main theme is simple, set out in clear chords, is built in the first sentence on the passing revolutions from D6 to T6, in d-moll and g-moll and stops at the dominant, and in the second sentence on the deviation in III, the subdominant and the use of tense harmonies of the Neapolitan sixth chord and diminished seventh chords. Period with a deviation, since the second sentence begins in a new key, but towards the end returns to the main key. After the composer has outlined the main theme, he begins to develop the main theme, or rather a modification of its first element. And this is the beginning of the connecting section of the exposition.

The assignment of the main theme of the seventeenth sonata to the chant type may cause controversy. Shouldn't initio be seen in its recitative two-bar. Yes, it has weight, aspiration, inherent in initio, but there are contraindications for this. First of all, the pace of Largo. At such a tempo, even a short thematic turn, moving along the sounds of the triad, can appear chanting - it all depends on the nature of the performance. One should not lose sight of the fact that in the reprise the chanting tones of Largo continue with the recitative proper, and their nature is revealed. The formal feature that distinguishes chant from initio is also important: the latter, as it was clarified above, moves after the first sentence, while the chant is repeated only after the attached second element in the next sentence of the period. This is exactly the structure of the topic here: ab + a1b1.

Moving the chant in the second sentence into parallel is unusual for this type of theme, but there is still something unusual in this theme: the beginning of the main part with a dominant chord is the first time in the history of the sonata form.

The connecting part (21-40 measures) has a common character with the main part, but a more agitated image, a triplet rhythm, and the roll-over of two bright motifs - bass and upper voice create a dialogue of two contrasting principles typical for L. van Beethoven. The ascending movement along the sounds of the decomposed chords is a strong-willed, objective proclamation and lamentous lamentable, chanting phrases based on subjective emotional and expressive second intonation. Never before had the thematism of the connecting part been distinguished in L. van Beethoven's sonatas by such a bright individuality, convexity and functional significance in the further development of sonata drama. Written in the key of d-moll with modulation in a-moll. The connecting section is a development of the main theme based on the dialogue in different registers of intonations of the first two elements of the main part and modulation into the key of the dominant. Structurally, this section takes 20 bars and is built according to the principle of splitting into smaller and smaller constructions (4 + 4 + 2 + 2 + 2 + 2 + 2 + 1 + 1), and sequentially rising upwards. The tension of the section is also given by triplet harmonic figurations.

It is interesting to trace the transformation of intonations: in the first fanfare intonation, when transferred to a minor on forte, the declamatory component is intensified, now it sounds like an exclamation. The second intonation, due to the appearance of the off-beat, becomes more melodious, but in the process of development it concentrates in one sound-exclamation. The tonal plan of the section introduces modulation from d-minor to a-minor, through a brightly tense diminished chord of double dominant to a-minor. The construction is developing in nature. “This is where the real drama begins,” writes Romain Rolland. Indeed, the roll call of two voices is a dialogue between two participants in the action. The "advance" of the lower voice and the "retreat" of the upper voice are almost evident. The fact that we recognize in these voices the transformed elements of the main party serves as another argument in favor of interpreting them as "characters". Here the illusion of combining functions is created, since in the main party these "persons" are only preparing for action, which gives the initial stage of the exposition the meaning of a dramatic introduction; the action itself begins with a connecting party. The intensity of passions in this section of the exposition reaches its climax at the climax, where the motive of the upper voice is compressed to a single sound that contains the richest inner content. Such a condensation of the intonation space leads to the fact that the expression contained in it requires relaxation, and as a result of the straightening of the intonation space, a moment of combining the functions of development and presentation arises - the theme of a side part is born.

The side part (41 - 54 measures) is a new version of the development of the lyrical elements of the main part. The a-minor tonality testifies to the strong tonic-dominant connection between these themes. Like the main part, the side part begins with a dominant function, which maintains a tense tone of presentation. The arious-monological type of melody creates a strong contrast in relation to the previous thematicism, and this, in turn, sharpens and maximally concentrates attention on the events taking place in the exhibition. The theme of the side part grows out of the lamento intonations of the main theme, maintaining its characteristic rhythm. Her small phrases sound more supportive, doomed than the striving unified line in the main party. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The first two sentences consist of two motives of 1 bar each and a phrase of 2 bars. The third sentence consists of 2 motives, 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins in the same way only from different sounds. The period is one-tone. It has no modulations or deviations. The 1st and 2nd cadences end in the root note, and the final cadence ends in the tonic sixth chord. The harmony is simple, consisting of tonic and dominant (to a greater extent), presented by melodic figuration around the V degree, with the inclusion of the sounds of the septima and nona. The theme of the side part unfolds in brief, agitated tunes, the repetitions of which may have been generated by the imitation system. It is significant that the theme of the side part is introduced as if "on the fly" and sounds on the dominant organ point of the dominant tonality, that is, on the harmony of the usual precursor to the side part. The reason for this is the activity of the dramatic action, which seems to compress the intonation space in all its parameters.

The final part (bars 55 - 92) contains the intonation elements of all the previous images, thus, as if summing up the first expositional stage of the action's development. It also ends in a very significant way: on the dominant to the main tonality (the sound of la), as if opening the way to a new stage of development. It is written in a-minor key in the form of a period with additions. Has a scale within 38 bars. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of 2 measures and phrases of 4 measures. Ends with a half cadence on the tonic triad. It is built on the alternation of a tonic a-minor sixth chord and a Neapolitan sixth chord. Already in this section, a rhythmic figure with an emphasis on the second note is born, opposite to the lamento rhythm. The second sentence has a length of 6 measures, consists of three phrases of 2 measures each. In the next sentence, this figure is clearly manifested in a downward movement in parallel thirds, reminiscent of the main party. The time signature is 6 bars, consists of 6 motives, 1 bar each. The fourth sentence - 18 measures, consists of 4 motives of 2 measures each and a large phrase of 10 measures. Development slows down here. In this section, against the background of whirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian revolution from the note E. The same turn in octave unison completes the exposition. The final batch is a period of unrepeatable construction. Each sentence has its own new theme, not like the previous one. Monochromatic. The final cadence ends in D to the root key. Calming down is carried out on the alternation of the harmony of the cadence quartsext chord and the dominant, which also violates the stereotype familiar to L. van Beethoven himself. The more significant is the moment of the tonic in A minor. Behind her deep calmness is hidden the outcome of the drama she experienced.

The unity of the exposition is very clearly evident in the system of cadences dividing the parts of the sonata exposition: 20 bars of the main part - the invading cadence in a minor; 41 bars to the intruding cadence in a minor; after 24 bars the second cadence in a minor, with a stop. The system of cadences comes into conflict with the thematic material, because the linking part is all based on the main theme and therefore, as it were, gives its continuation, and the side part is separated: 40 bars are main and connecting, 45 bars are side and final. Such a discrepancy between structures reflects the dialectic of Beethoven's sonata form; in the "dispute" of different principles, the dynamism of the form and its perception are born, since, when listening, we notice this discrepancy.

So, in the exposition of the first movement of the sonata, contrasting elements are contrasted only at the level of the thematic core and the theme of the main part as a whole. The rest of the stages of movement at the exposure level only use the result of these contrasting contrasts. This is where Beethoven's dramatic efficacy is clearly manifested.

EXPOSITION I PART OF SONATA No. 17 L. VAN BEETHOVEN
Tonal plan
Thematic row, letter
Scale series	2+4+2+12 Summation	4+4+12 4+4+2+2+2+2+2+1+1 splitting up	4+4+6 1+1+2+1+1+2+1+1+4 summation	14+6+18 2+2+4+2+2+2+1+1+1+1+2+2+2+2+4+6 Summation and crushing with closure
Structural series, shape definition	Period of 2 sentences, rebuild, Period with deviations. The half cadence ends with a D, and the final cadence ends with a t. Period with expansion by adding a recitative at the end.	A developmental type construction based on elements of G.P.	Period from 3 offers of rebuild, one color The 2nd cadence ends at t, and the final at t6.	Period with additions. Monochromatic. There are Phrygian turns. The half cadence ends with t, and the final cadence ends with D to the main key.
Functional range	Presentation of the 1st topic G. P. exposition	tie 1st theme (G.P.) Expo link section	Presentation P. P. exposition	The final section of the exposition
Final shape definition	The exposition of the first part of LV Beethoven's sonata No. 17 is written according to the laws of the sonata form of Viennese classicism. GP - written in the form of a period. It sets out the main theme, which consists of 2 elements. The connecting section is built on the elements of the G. P. .. P. P. - written in the form of a period of 3 sentences - carrying out a new (2nd) theme, which is a new version of the development of the elements of the main party. The final section is similar to the form of the period with additions in a dominant key

Form-scheme 1. 2 Exposition of the first part of the sonata op. 31 # 2 (# 17)

Development is based on the first motive of the main party and the dialogizing connecting party. At the end of the development, the dominant background. Development can be divided into three sections. The first (measures 93-98) represents the fanfare element of the main theme. It is performed three times (D6, dis um6, Fis6), providing colorful juxtapositions to the fis-moll key of the second section. The first section takes 6 measures - it includes 3 phrases of 2 measures, built according to the type of frequency. However, the forces of contrast in the core of the main party continue to be felt. At the beginning of the development, a polarization of contrast occurs: the three quiet arpeggios of the first element (their tonal-harmonic positions extremely push the boundaries of further development) corresponds to the theme of the connecting part - the most dramaturgically active element of the exposition, reaching here, thanks to a higher compositional level, extreme intensity. The second section (99-120 bars) continues the line of development of the connecting section of the exposition, actually repeating it in a more dramatic form in fis-moll and leading to a culmination in 119-120 bars. The section takes 22 measures and consists of two sentences and 6 phrases and is built according to the type of splitting. The third section (measures 121-142) is a precursor to the beginning of the recapitulation, based on the dominant harmony to d-moll and swirling intonations that create a slow-motion effect. The development ends with a series of dominant bass chords outlining the upper tetrachord of the harmonic d-moll, and a descending octave monologue anticipating the recitative of the main part in the reprise.

So, the second section of the first part of the seventeenth sonata by L. van Beethoven has a developmental character. It is based on the development of the first element of the main party and the connecting section of the exposition. It ends with a prejudice to a reprise on the dominant function to the main key. The development of the first movement of the seventeenth sonata by L. van Beethoven is an example of the existence of a form of a moving period (sentence), but it passes into the free development of the developmental type itself. This applies to the greatest extent to the development of dramatic content, developing from large structures to small ones and receiving generalization in a vivid melodic form. Such a decrease in structural elements plays an inhibitory role, being located at the pre-reprocessing organ point.

DEVELOPMENT OF THE I PART OF SONATA No. 17 BY L. VAN BEETHOVEN
Tonal plan
Thematic row, letter
Scale series	2+2+2 periodicity	4+4+14 4+4+2+2+2+2+2+2+1+1 splitting up	4+4+4+10 summation
Structural series, shape definition	The construction has an introductory character, based on the theme of G.P.	The construction continues the development of the connecting section of the exposition. The form is like a period.	Building a developing character
Functional range	Varied presentation of the 1st element by G.P. introduction	Development of the connecting theme of the exposition	Preface to the reprise
Final shape definition	The development of L. V. Beethoven's Sonata 17 has a developmental character. Based on the development of the first GP element and the linking section. It ends with a prejudice to a reprise on the dominant function to the main key.

Form-scheme 2. 2 Development of the I movement of the sonata op. 31 # 2 (# 17)

Reprise. All themes in it are modified, especially the main part, to which new elements are added: two expressive lyric and psychological recitatives, presented in one voice, like a speech in the first person. Hence the name of the sonata - "sonata with recitative". The side part and others are already set out in the main key of d-moll with deviations. The main part and the connecting section in the reprise are carried out with changes. These sections are the culminating area of \u200b\u200bthe form. The recitative in the reprise, as an element of the through dramatic action in the zone of the main party, also leads to the renewal of the connecting one. Only the secondary and final parts are given in accordance with the norms of the sonata form, due to which the overall movement is evened out.

In the main part (measures 143 to 149), the main emphasis is on the dramatic recitative, which is an extension of the first element (arpeggiated sixth chord) of the main part of the exposition. The main part is written in the key of D minor and in the form of the period. The period is 16 bars. The first sentence increases to 10 bars. Of these, 6 measures are a long phrase, then 4 measures are the next phrase with a half cadence on the dominant. The second sentence consists of only one phrase (6 measures), which breaks off at the recitative, passing immediately to the ostinata chords of the connecting section. There is no final cadence. The period is of the type of crushing with closure. The period is one-tone, repeated structure, since both sentences begin in the same way, only from different sounds.

The connecting section (measures 150 to 170) is reduced to 12 measures and new material is introduced into it, retaining a distant connection with the first (fanfare) and third (chord) elements of the main part. The entire section is built as a dialogue in two measures of these transformed intonations with the structure (4 + 4 + 4) - the type of periodicity. The first element, which was characterized by the movement of the chord sounds upwards - here it becomes violent waves of arpeggios across the entire range. From the connecting section of the exposition, only the triplet rhythm is preserved in the reprise, but it also changes to faster durations (sixteenths or sixteenths) in the last beat. The third element, marching chord sounds, is manifested in its extreme quality - in the form of an even, ostinata repetition of four chords in a low register. This is the culminating section of the form, where the main (personal) thematism is destroyed, it disappears, and the rest of the elements acquire the maximum degree of generalization and impersonality. In tonal terms, the movement goes through fis-moll, G-Dur and two diminished chords leading to a side part in the main key.

The side part (measures 171 to 184) is played in the main key (d-moll) practically unchanged. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The signs of such a period are that it has 3 cadences distant from each other. The first two sentences consist of two motives of 1 bar each and a phrase of 2 bars. The third sentence consists of 2 motives, 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins in the same way only from different sounds. The period is one-tone. It has no modulations or deviations. The 1st and 2nd cadences end in the root note, and the final cadence ends in the tonic sixth chord. The harmony is simple, consisting of the tonic of the idominant (to a greater extent), set forth by melodic figuration around the V degree, with the inclusion of the sounds of the septima and nona.

The final section (from measures 185 to 228) is also carried out practically unchanged. Several measures are added only at the end - these are figurations-waves on the tonic triad in the bass against the background of a sustained tonic sixth chord, as if the first element of the main part is concentrated in the main key. It is written in the key of d-moll in the form of a period with additions. Has a scale within 44 measures. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of 2 measures and phrases of 4 measures. Ends with a half cadence on the tonic triad. Constructed on the alternation of a tonic a-minor sixth chord and a Neapolitan sixth chord. The second sentence has a length of 6 measures, consists of three phrases of 2 measures each. In the next sentence, this figure is clearly manifested in a downward movement in parallel thirds, reminiscent of the main party. The time signature is 6 bars, consists of 6 motives, 1 bar each. The fourth sentence - 22 measures, consists of 4 motives of 2 measures each and a large phrase of 16 measures. Development slows down here. The period of unrepeatable structure, since each sentence has its own new topic, not similar to the previous one. Monochromatic. The final cadence ends at the root of the fundamental key. The coda is replaced by a long-held tonic harmony: since it hardly sounded throughout the entire Allegro, its impact is especially significant. It concentrates on everything that happens in the first part and hears the answer to all the questions that arose in Allegro, the answer is deep, not reducible to any unambiguous formula.

As a result, we can say that the reprise of the seventeenth sonata by L. van Beethoven has the main part, which is modified, introducing a recitative to the first element, written in the form of a period. The connecting section, which is built on the new material, only slightly resembles elements of the main batch and the side batch. The side game is repeated unchanged and written in the form of a 3-sentence period. The final section is also carried out unchanged, only with the addition at the end of several measures that replace the coda and are built on the root and tonic sixth chord. Written in the form of a period with additions.

REPRISE I PART OF SONATA No. 17 L. VAN BEETHOVEN
Tonal plan
Thematic cue row or letter
	6+4+6 Crushing with closure	4+4+4 2+2+2+2+2+2 periodicity	4+4+6 1+1+2+1+1+2+1+1+4 Summirov	2+2+4+2+2+2+1+1+1+1+2+2+2+2+4+2
Structures row, definite form	Period of two sentences enium, one-tone, repeated structure. The half cadence ends in D, and conclude no body cadence	developmental development	Period from 3 offers of re-construction. Monotonal 2nd cadence ends on t, and the final cadence ends	Period with additions. Monotonal ny. Phrygian turns are present. The half cadence ends with t, and the final the cadence ends in t.
nal row	Repetition of G.P. exposure with speciation unchanged 1st element G. P. reprise	New material resembling recap section	Repeat without changes P. P. exposure P. P. reprise	Constructing the final character.
Final definition form	The reprise of the first part of the 17th sonata by L. V. Beethoven has a G.P., which is modified by introducing a recitative to the first element (hence one of the sonata's names “sonata with recitative”). Has the form of a two-sentence period. The connecting section, which is built on the new material, only slightly resembles the elements of the G.P. The side game is repeated without changes and has the form of a period of 3 sentences. The final section is also carried out without changes, only with the addition at the end of several measures, built on t and t6. Has the form of a period with additions. At the end, a coda is added, which sounds in the tonic triad.

Form-scheme 3. 2 Reprise of the first movement of the sonata, op. 31 # 2 (# 17)

As a result of the analysis, it can be concluded that there are significant changes in the reprise and the exposition, primarily in the sphere of the main party, but also stable elements in the sphere of the connecting and secondary party. In the sonata allegro of the seventeenth sonata, there are only three full cadenzas - the ending of the main part (at the level of the exposition), the exposition (at the level of the form as a whole), the entire sonata form (at the level of the sonata cycle). In other words, only the initial exposition sections of each of the three levels are clearly completed, the rest of the form is blurred by the continuity of development, the source of which is dramatic efficiency. But in this case, the implementation of this principle is combined with another major formative trend. In this continuous flow of musical movement in the absence of contrasting oppositions outside the main part, the principle of self-movement is manifested, which played a leading role in J.S. Bach and many other composers of the Baroque era and became the most important factor in shaping in the late period of L. van Beethoven's work. The first movement of L. van Beethoven's sonata No. 17 has a high degree of theatricality, a bright, dramatic development of the main intonations. This is achieved due to the through development of intonations and the dialogic nature of their combination with each other. When L. van Beethoven was asked what his music was about, he replied: “Reread The Tempest by W. Shakespeare”.

The second part of. Adagio. B major, sonata form without elaboration. Like the first movement, it starts with an arpeggio. The main theme uses the method of dialogue-roll call. This movement is one of two examples of a sonata form without development in the group of works being analyzed - already from the second sentence of the main theme it suggests the possibility of variation, and it is realized in a reprise. The reprise as a whole also appears as a reprise-variation. Thus, the form of the sonata without elaboration also obeys the basic principle of variation. In the side theme of Adagio, with its reliance on the fifth and singing of the III step from below and I and VI from above, one can hear Russian intonations. The second movement from the seventeenth sonata obeys the general principle of Beethoven's slow movements in the sense of holding the main theme in the code (89 - 98 measures). By invisible ways, the connection with the side part of the first part, full of nagging melancholy and mournfulness, is carried out.

The third part. Allegretto. d-moll. Sonata form based on figurative and musical-thematic unity. A new version of the development of the main thematic intonations, closeness to the genre of prelude. In the finale of the seventeenth sonata, the unity of movement of the main and secondary part is facilitated by the fact that the latter begins on the dominant from the dominant, demonstrating its striving forward, towards the cadence of the exposition. Fluidity is a technique that applies, of course, to the entire ending. It is necessary to highlight a very important structural feature - holding the main theme in the code as a finishing factor. It creates an inclination towards the rondo form, already encountered in its various manifestations. If the inclination towards sonata is formed at the beginning of the form, in its expositional section, then the inclination towards rondo in works with the sonata form is noticed towards the end, after the sonata structure has been determined: exposition - development - reprise. The conclusion of the main topic is then rounding off. But this apparently also reflects the connection with the long tradition of writing finals in the form and even in the genre of rondo. It was her that L. van Beethoven often followed, especially in the early period of his work. This tradition obviously left its mark on the sonata finals.

The inclination to rondo increases if the main theme with the preservation of the structure (in whole or in part) is also carried out in development, then a total of 4 conductions are formed, clearly showing the rond-like in sonata form. The finale of the seventeenth sonata also gives an example of how the main theme is carried in the code. It is curious that the conduct of the main theme in the code completely coincides with the expositional one, while the reprisal one differs from it. It is important to emphasize the similarity of the extreme passages: they border the form, thus reminding the principle of dacapo, which was found in various ancient forms.

Typical features of the classical sonata form:

The exposition mainly consists of tonic-dominant turns. The subdominant often appears only in the cadence (since it can shake the primacy of the tonic), deviations are rare.

The main part determines the main content of the musical form. It, as the core of the whole work, in most cases is carried out without major changes: in the exhibition for the first time and in development it develops. The main part always ends in the main key, with a cadenza on the root or dominant.

The linking party is a transitional section. It provides gradual intonation preparation for the side part.

The form of the side batch is free and allows for many variations. However, it should be noted that under the influence of relative harmonic freedom, these forms often lose their squareness due to additions, extensions, etc. Often there is a rhythmic renewal of the side part. The durations are enlarged and the movement slowed down. Movement activation and shorter durations are less common.

The final part should harmoniously consolidate the new key. Often there is a multiple repetition of the cadence turn or the presence of a tonic organ point.

Development is a big move between the extreme points (exposure and recap). During the development process, modulations occur in different keys. The path of these modulations, like many other development qualities, is not regulated. There are two main types of tonal movement possible. If the development began in the key of the end of the exposure (or in the key of the same name) - gradual modulations to more and more distant from the original key and at the end of the development return to the main key.

The reprise - the third major section of the sonata form - reduces the tonal difference of the exposition to unity (the side and final parts this time are presented in the main key or approaching it). Since the binder batch must lead to a new key, it usually undergoes some kind of processing.

Code is an additional section of the form. Its function is a generalization of the material, the approval of the result, the "conclusion" of the entire work.

The individual features of the sonata form of the sonata op. 31 No. 2 (No. 17):

The main part of the exposition is built on two elements (like a question - an answer). The main emphasis is on the dramatic recitative (for the first time in music, Beethoven uses it in the thematic of the main part), which is an extension of the first element (arpeggiated sixth chord). The second element consists of only one phrase (6 measures), which breaks off at the recitative, passing immediately to the ostinata chords of the connecting section. There is no final cadence. In the main part of the exposition of the seventeenth sonata there is a deviation from the main key to the parallel F-dur. The main part is written in the form of a period. Basic key in d-moll.

The connecting section is built on the elements of the main batch. Written in the key of d-moll with modulation in a-moll. The theme of the linking party is brightly individual, but has a ntonational affinity with the main party.

The theme of the side part unfolds in short agitated tunes and at an allegro tempo. Carrying out its second new theme represents a new development of the elements of the main party. It has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). Written in a-minor key.

The final cadence ends in D to the root key. In this section, against the background of whirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian revolution from the note E. The same turn in octave unison completes the exposition. The final part is written in a-minor key and has the form of a period with additions.

The development is based on the development of the first element of the main batch and the connecting section. The tonal movement of the development of the first movement of Sonata No. 17 is presented in such a way that if the development began in a distant key by means of juxtaposition, then a gradual return to the main key occurs. It ends with a prejudice to a reprise on the dominant function to the main key.

The reprise has a modified main part - a recitative is introduced to the first element. The connecting party only slightly resembles the elements of the main party - it is built on new material. The side and final games are played practically unchanged. Basic tonality in D minor with deviations.

The coda is replaced by a long-held tonic harmony: since it hardly sounded throughout the entire Allegro, its impact is especially significant.

The individuality of this sonata is emphasized above all by the unique, brightly expressive, inimitable, thematic appearance of each of its sections.

Number 2, was written by Beethoven in 1796 and is dedicated to Joseph Haydn.
The total playing time is about 22 minutes.

The second part of the Largo appassionato sonata is mentioned in the story by A.I. Kuprin "Garnet Bracelet".

The sonata has four movements:

1. Allegro vivace
2. Largo appassionato
3. Scherzo. Allegretto
4. Rondo. Grazioso

(Wilhelm Kempf)

(Claudio Arrau)

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 you submit to the demands of the public, the world, find the path to their maximum satisfaction, or go your 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 is similar to Joseph Haydn. There are a lot of virtuoso figures in the sonata, some of them (for example, jumps, small scale technique, fast iterations of broken octaves) look both into the past and into the future (recalling 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.

I. Allegro vivace

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is in F major, which contains a third relationship with the key of the work, A major. A difficult, but beautiful canonic section is also to be found in the development. The reprise contains no codes and the part ends quietly and modestly.

II. Largo appassionato

One of the few instances in which Beethoven uses the tempo marking "Largo", which was the slowest such marking for a movement. The opening imitates the style of a string quartet and features a staccato pizzicato-like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven "s conception of this movement. The key is the subdominant of A major, D major.

III. Scherzo: Allegretto

A short and graceful movement that is in many respects similar to a minuet. This is the first instance in his 32 numbered sonatas in which the term "Scherzo" is used. A minor trio section adds contrast to the cheerful opening material of this movement.

IV. Rondo: Grazioso

Beautiful and lyrical rondo. The arpeggio that opens the repeated material becomes more elaborate at each entrance. Rondo structure: A1-B1-A2-C-A3-B2-A4-Coda. The C section is rather agitated and stormy in comparison to the rest of the work, and is representative of the so called "Sturm und Drang" style. A simple but elegant V7-I closes the entire work in the lower register, played piano.

Beethoven dedicated the three sonatas of Op. 2 to Franz Joseph Haydn, with whom he studied composition during his first two years in Vienna. All three borrow material from Beethoven "s Piano Quartets, WoO 36, Nos. 1 and 3, possibly of 1785. The sonatas were premièred in the fall of 1795 at the home of Prince Carl Lichnowksy, with Haydn in attendance, and were published in March 1796 by Artaria in Vienna.

The sonatas of Op. 2 are very broadly conceived, each with four movements instead of three, creating a format like that of a symphony through the addition of a minuet or scherzo. The second movements are slow and ponderous, typical of this period in Beethoven "s career. Scherzos appear as third movements in Nos. 2 & 3, although they are not any faster than earlier minuets by Haydn. They are, however, longer than their precursors.

Beethoven "s experimentation with tonal material within Classical-era frameworks begins with his earliest published works, as the first movement of the Op. 2, No. 2 sonata clearly demonstrates. After establishing the key of A major through a fragmentary, disjointed theme, Beethoven begins the transition to the dominant.When the second theme arrives, however, it is on the dominant minor (E minor), implying the keys of G major and C major.This implication is realized at the beginning of the development section, which is on C major.In the recapitulation, one would expect the transition to lead to the tonic, but here it suggests, again, C major through its dominant.At the moment the second theme arrives, Beethoven creates a deceptive cadence by moving to A minor, thus resolving the second theme to the tonic.

Sustained chords over a pizzicato-like bass part at the opening of the second movement could have been realized only on the most recent pianos of the time. In this movement, Beethoven borrowed material from the Piano Quartet, WoO 36, No. 3.

Beethoven retains the formal principles of the minuet for his third movement, an Allegretto Scherzo. There are, however, distinctly Beethovenian features, such as the second theme of the Scherzo being only a slight modification of the first theme, as well as the extension of the second section. In a reference to the key relationships of the first movement, Beethoven sets the Trio in A minor.

In the Rondo finale Beethoven applies some sonata-form procedures to the traditional rondo format and flexes his variation muscles. The overall structure is ABACAB "AC" A. Episode B touches on the dominant to such a degree that its return is rewritten to stress the tonic, while episode C is set in A minor, a key which is abandoned in favor of A major on its return.

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 in artistic concepts and outlook remains valid. But such anticipations constitute an essential side 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 is called "amiable" by Anton Rubinstein. In contrast to the basic 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 accentuated 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, taken 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 ascending 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 rising motive forte in the bass - true, 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 piece. It is also obvious that the juxtaposition of the melodious-lyrical and scherzo 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 expressions of the already familiar principle of multiple and concentrated impact).
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 two different kinds of syncopation. 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 let's look at 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 above 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 bars 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 the danger of a fall in the listener's interest also arises. 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 rhythmically stable. 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 a new form of the repressed element. captures favorable metric-syntactic positions (a strong share of the first measure of the new construction) and therefore is able to serve as an impulse, the action 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 in 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 is expanded by means of an ascending 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, a dissonant altered chord, also played by sforzando, sounds on the downbeat of the next bar (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 (the 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). Let us 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 of not only scientific, but also artistic cognition (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 addition to 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 culminating 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 the 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. That which is there in the background and has the character of a contrasting element, overcome in the development process, 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 the 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 followed 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 ratios, giving the first section more weight compared to 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. 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 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 against 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), 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 dramaturgy of the struggle of these elements, in the process of which they seem to spur and strengthen each other, the struggle leading to the culmination and 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 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), 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 (bars 13-20), which also throws the arch towards the melody 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, but he implements them in such a way that means are created that largely anticipate the future, although only in it they will fully reveal (of course, under correspondingly different context conditions) their expressive possibilities. 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 relationships 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 artistic discovery contained in it, 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 contrast to the mournful Largo. ).
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 (repeated quarters) directly follow from bars 3-4 of the main theme of the Scherzo, rhythmically contrasting with more lively initial motives. Therefore, it is 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 indeed 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, then 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 quart-text cord, 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 the fact 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 topic and thus making the comparison of different types of syncopation one of the means of realizing the main artistic discovery (a kind of sub-topic of the second kind that serves 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 that 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 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 the music (in particular, in the replacement of the eponymous minor by 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 motive, 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 on 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, like 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 arc 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 therefore strengthens 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-dance, mobile-lyrical make-up. We now mean not concentrated in the main motive expressive and structurally expressive primary complexes (lyric sexting, 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 a 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 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 brilliant 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 highlighted, 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 thing. 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 clear to what extent the three-beat theme is (other things being equal) softer and more lyrical than the four-beat one.

The biggest difference between this sonata and the three previous ones 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, keeping the internal pulsation of the triplets. The polyphonic development of the secondary part is also atypical, which before this sonata had not been encountered in Beethoven's violin sonatas.

It is hard to believe that during 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 for its modest volumes, which is very unusual for Beethoven, and for its concentrated presentation of musical material. The first and third movements of the sonata form a shaped arch. This is one of the few finals of violin sonatas, and indeed finals of that time, written in minor key and continuing the development of the images of the first movement. DF Oistrakh described this sonata as "Little Kreutzer".

The dramatic I movement and the dramatic finale are separated by the major Andante Scherzoso, which musicologists often call "interlude" (in general, the arrangement of the frets is also unusual - more often we encounter fast major extreme parts and slow minor II movement).

The fact that the sonata was written in minor is also unusual - at the dawn of the 19th century, a symphony, and even more so sonatas (which were composed most often for the entertainment of the public) in 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 meaning of the sonata cycle in a completely different light. Before Beethoven, the chamber genre was seen as light music for the relaxation of listeners. Thus, the use of minor keys in chamber music contradicted the very idea of \u200b\u200bsecular concerts, since a minor, more often than not, opens up a sphere of dramatic and very often tragic images for 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 the form of a sonata Allegro. In this case, it is the sonata Presto.

The action unfolds actively from the first bars. The theme sounds in the piano part, its agitated 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 measures of the piece reminds me of the finale of Brahms's Third Violin Sonata d-moll).

Beethoven Sonata No. 4

Brahms. Sonata No. 3, Finale

As BV Asafiev rightly noted, "Perhaps this paradoxical image - tense stability - best of all conveys the basic quality of Beethoven's tonicity."

In my opinion, the theme of the main batch is a big sentence (22112) with an addition (4). I disagree with RA Saifullin, who in his work "The Semantics of Music Text and Performance Recommendations" states that the theme of the main part is written in a simple three-part form. He sets the boundaries as follows:

(1-12 measures) (13-23 measures) (24-29 measures)

In my opinion, the boundaries of the main party should be designated as:

Big offer Supplement

What Sayfullin calls the second part of the main party, in my opinion, is the beginning of a connecting party. In turn, I would define its structure as 2 + 2 + 4 + 5:

This type of connecting parts was encountered by composers of the late 18th and early 19th centuries, when the classical sonata form was not yet fully formed and was somewhere between the classical and the baroque. T. Kyureghian called this type of sonata "preclassical sonata form", where the connecting part was a model and its sequenced repetitions with further modulation into the key of the secondary part.

This is by no means the only feature of "antiquity" in this sonata. The boundaries of the exposition-development and reprise-codes are marked with a reprise sign, which is typical for baroque suites and partitas, this method of form was used by Haydn and Mozart. Beethoven used it in his sonata op.10 no. 2.

The musicologist Lenz calls the form of the first part of the Fourth Sonata - a sonatina, but at the same time makes it clear that there is no other like this in the whole of musical literature.

The theme of the side part is based on a large sentence in building 2222, it is repeated twice: in the violin part and the piano part. At the same time, the “opposition” does not change either: what the piano sounds at the beginning is transmitted to the violin. This intensifies and deepens the emotional impact on the listener. In general, the use of polyphony in the secondary parts is atypical for Beethoven, and has not previously been found in his violin sonatas.

First conducting the topic Second conducting the topic

The character of the side, in comparison with the theme of the main part, is calmer, but the calm is somewhat imaginary, there is no balance, the theme is very fluid, it is all permeated with second intonations.

After performing the theme twice, an addition of 8 bars sounds, also imbued with lamento intonations and imitations. Thus, the side batch scheme looks like this:

The final part "stands" on the tonic organ point, in turn, it also has its own micro-sections, which can be considered as a reduced model of the side part:

In the last section of the final batch in the table, I indicated that there is a decrease in the apparent voltage. But what is important is that a diminished introductory dis-fis-a-c sounds at the tonic organ point of the e-moll, and by superimposing on each other a feeling of strong tension is created.

Thus, this miniature exposition fits only 67 measures, but such limited space does not prevent Beethoven from laying a stable rich thematic foundation and giving the first shoots of development. Compared to the exposition, Beethoven gives a real, detailed, "Beethoven" 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, and also indicated the initial sections of each of the sections:

The development reproduces the thematic 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 harmonious development. The first six measures in the bass of the piano sounds the already familiar arpeggiated tonic triad, which takes us to the beginning of the exposure with its restless and impetuous character. But in the next 8 measures this motif is joined by a continuation of a measure, which radically changes the character of the sound. Now the violin and piano seem to be throwing a decisive and sharp challenge to each other, this motive sounds like a question-answer in both soloists, which, in turn, becomes a model for sequenced (tonal) development. The first beat (with a grace note) sounds a chord: and only in the first case it is D6 / 5 to d-moll, in the other three cases it is a reduced non-chord on D bass, which creates 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 enlarged second stands out brightly, which further emphasizes the fracture of the melodic pattern. In addition, this motive sounds unaccompanied, and a large number of pauses in the parts of both instruments "tears" the melodic fabric, finally giving the music a desperately rebellious character.

The melodic horizontal line confidently rushes upward, thereby increasing tension, but the second section interrupts this tendency with the help of several bars of abstract lyrics. This section is the smallest, only 7 bars, and, in my opinion, the lyrics here are imaginary, although there is a characteristic wide melody in the violin and ostinata figuration in the piano part. This section distracts us from the passions and concerns that were outlined at the beginning of development; but just as imperceptibly this calmness came, just as imperceptibly it left us, which is replaced by the third section, where the descending element of the connecting party undergoes 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-minor and d-minor and is constructed as a dialogue between the soloists, the tension in which grows with each beat.

The fourth section can be titled "background" to the new topic. It completely stands 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 techniques that Beethoven used in the final part of the exposition.

The emergence of a new topic is truly a significant event in this form. “Preface” - Section IV could have served as a traditional precursor to the reprise, but Beethoven had not yet finished what he had in mind, so the new topic in development was a great vehicle to do it. This theme reminds me of the second theme of the side part in the finale of Brahms's Third Violin Sonata, which I have already mentioned:

The shape of the new theme can be defined as three 8-bar periods of re-structure, the third of which opens and leads us directly to the reprise, to the reprise tonality of a minor. All 3 periods are based on the same thematic material and are performed in three different keys: a-minor, d-minor, B-dur. Modulation occurs by matching. In the latter case, the modulation B-major - a-minor, gradual: through D there is a deviation in d-minor, from the tonic quarter-chord in d minor, without leaving the bass “a”, Beethoven goes to D of the main key of a minor.

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 was not there before (I think that Brahms was based on this theme when he wrote the finale of his Third Violin Sonata).

But in the last four bars of the theme, a crescendo emerges, the tension instantly builds up, reminding us of all the development events, which leads us to a dynamized recap.

The reprise lacks the theme of the connecting party. The core of the theme of the main part does not change, the same structure of 22112 remains, but the addition is built according to a different principle: Beethoven isolates the element from the base - the ascending triad (which was previously sounded in the piano part) and with the help of it modulates in C-dur (the key of the side part in the reprise). The modulation process follows in the table below:

The theme of the side game is repeated 2 times, just like in the exposition. But in the exhibition there was an exact repetition of the theme with a permutation of voices. Beethoven retains this polyphonic technique in the reprise, but the first conduction sounds in C major, and the second conduction of the theme, as it should be according to the laws of the reprise, in the main key of a minor.

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 bars, as in the exhibition) brings us back to the real world of wrestling.

The final part is constructed in the same way as in the exposure, the addition increases: 4 + 4 + 10, in which the modulation in d-moll occurs. The reprise ends with the "start of development", but there is no continuation. And the first exclamation of a violin on a motive with a grace note is interrupted, followed by a new theme from the development, which, of course, is a unique feature of the form of this part (although by the 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 minor, through DD it modulates in a minor.

This is how the structure of a new theme looks schematically in the code:

In the second and third lead of the theme, there is a slight vertical permutation of voices within the piano part.

Part I ends with pp, which is also unusual for Beethoven. This ending is, of course, part of the conceptual design. It creates the effect of confusion, unfulfilled hopes, calm before the further struggle for their happiness.

As we can see, the structure of the first movement of the Fourth Sonata is very atypical for Beethoven, but, on the other hand, we clearly see the master's hand: sophisticated polyphonic techniques, playing of tonalities, various modulations and, of course, very expressive and figurative thematicism.

So, in the first movement we have encountered a number of techniques that are not standard for the classical sonata Allegro. In contrast, Beethoven writes the second movement of the Andante Scherzoso piu Allegretto sonata in the most Viennese classical sonata form, which, in turn, is very unusual for the slow movement of the 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 the first movement.

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 very much resemble the echo of the echo, which they will later become when the violin enters.

The theme of the main party is a simple two-part non-repertoire form, its structure is indicated in the following table:

The connecting part here is the most complete, in contrast to the exposition, it is based on a new theme, and in form it is a Fugato with a tonal response, a restrained opposition and one straight lead. Beethoven develops the makings of polyphonic development in the first part, in the third part they will reach their apogee (Beethoven willingly used polyphonic techniques in genre-descriptive works, often to emphasize the scary character) The process of polyphonic development in Fugato is displayed in the table, the "theme" is denoted by T, "Answer" O, "opposition" P:

The D addition to the E-major brings us to the theme of the side part, written in the form of an eight-measure period with expansion and addition. To clarify how a typical eight-measure period takes 17 bars, I compiled a “non-squareness table” for the side-part theme, where I displayed all the repetitions, additions and extensions:

No repetitions
With repetitions	4 + 4 (repetition with violin)	4 + 5 (cadence extension)

The side part has a very bright and recognizable figuration - trill, chirping, which gives even more lightness and naivety to the melody - and next time it will be met only in a reprise.

The final part is a simple two-part non-repertoire form, divided into two parts of different character, in the first of which only a reminder of the events of the first part returns for a moment: subito sf appears, an accentuated strong beat on the violin, but the touch of drama immediately disappears, leaving the dominance of the simple , an unpretentious and melodious main theme of the final part. Thus, the final batch looks like this:

Thus, we see that each theme of the exposition is performed twice, but it necessarily begins with a piano solo.

The development is miniature, it fits in only 36 bars, it is not at all "Beethoven's", not at all dramatic, it is built on the development of the themes of the main and connecting party.

The four-bar that opens the development is the first four-bar of the theme of the main part: the theme sounds in a parallel fis-moll on the piano against the background of the ostinata dominant on the violin. The theme does not receive development, but flows into the theme of the connecting party, which is undergoing changes in development.

The counterposition from the exposition no longer exists, instead a two-bar motive 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-major, a-minor, h-minor.

In the following bars, the development is based on the initial element of the Fugato theme, I think Beethoven deliberately simplifies it to the imitative development, using as a “counterposition” a second leith-intonation from the theme of the main part.

Meanwhile, the tonal movement continues, this time in pure quarters: h-minor, e-moll, a-moll, d-moll. From d-moll with the help of the diminished seventh chord dis-fis-a-c, Beethoven falls into the dominant of the main key, thereby starting to prepare a reprise. It stands on D for 5 bars, then lets it go, leaving only the second-second leith-intonations of the theme of the main part, which two soloists echo, after which we find ourselves in a reprise.

So, within this small development there are no such obvious boundaries as in the development of the first part, but for convenience, several sections can be distinguished here:

In the reprise, changes in the main part are obvious from the very first bars. The violin part adds a scary sixteenth-note tune that accompanies the cadenzas. It gives a playful character to the music.

The trill in the piano part, sounding against the background of the second leith-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 small-second echoes on the spiccato on the violin, on the light staccato on the piano, which emphasizes the scary nature of the theme.

The theme of the main part is transformed, overgrown with echoes 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 the violin, but further on in the violin part the theme no longer appears, passing into the lower voices of the piano part. The theme is devoid of such polyphonic delights that we saw in the connecting part of the exposition. There are only 2 complete conductions of the theme, this is how this simplified scheme of polyphonic techniques looks like in the theme of the connecting part in the reprise:

The themes of the secondary and final parts do not undergo any harmonic and structural changes, only, according to the rules of the classical sonata form, they are transferred to the main key - in this case, in 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: \u200b\u200bif you look even more closely at Andante Scherzoso, then we will not find consonances here, more complicated than the usual seventh chord, The cadances here are emphatically transparent and clear, the pauses in the themes give them exquisite simplicity and grace.

Part II serves as an interlude, a "rest" between the dramatic Part I and the rebellious finale, which will now be discussed.

The finale is traditionally written in the form of a Rondo Sonata. The structure of this part is complex and complex, therefore, for convenience, I will immediately present a table-diagram of the part:

In my opinion, in the Rondo refrain, 1 metric bar is equal to two graphic bars, this is also prompted by the size of the part - Alla brave. But in some episodes, 1 metric so is equal to 1 graphic, so in order to avoid confusion, I will calculate graphic ticks (the table also shows the calculation of graphic ticks).

The refrain is a very expressive theme, it combines contradictory features: epic-narrative, lyrical, with a touch of dramatic anxiety and fuss. The theme in the first sentence is carried out at the piano, its voices first move in the opposite direction, then strictly parallel - this clear convention also creates a certain sonority effect. 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 theme enters the violin, small figurations appear in the middle voice in the accompaniment, 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 with f, which creates a brighter contrast to the subsequent first episode at p.

I think it is impossible to clearly define the shape of the first episode. It uses the structure that composers usually use in development and other parts where any development of musical material takes place. But this does not mean at all that the episode lacks a bright, distinctive theme or motive, especially since the theme of the first episode is also the theme of the side game of the finale. In the following note example, only the beginning of a theme is displayed:

The crown of the first episode is a diminished seventh chord, which brings a fresh harmonic flow compared to the diatonic refrain.

Also expressive is the new texture that Beethoven introduces here for the first time - these are wide diverging waves-melodies of the piano and violin part, which push the boundaries of the sound space, and also carry out tonal movement: h-moll, a-moll, e-moll. Below is just one of the links:

Numerous inter-bar syncopations also add their own flavor to the sound:

But the brightest bars in this episode, one might say, in this sonata are - the bars of the heartfelt and laconic recitative, which takes place 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. Refrains in this section follow unchanged.

The second episode is the smallest of all, it refers us to the mood of the second part, it has features of light toccata.

In my opinion, in form it is a large sixteen-cycle period with expansion. But this judgment is controversial: there is no middle cadence in D, which is usually a hallmark of the period. Here we find 3 cadences modulating in h-minor, d-moll and a-moll. Moreover, modulation into the main key occurs in an interesting way: Beethoven begins the cadence turn as a traditional one. He takes the tonic, S with a sixth, followed by an altered S, which is already implied as D to a minor, and not an altered S to d minor:

S with sixth Salt. \u003d Da-moll

The third central episode is of the greatest interest. 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 musical 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 designated as the fourth, there is a reminiscence of all three preceding episodes. This piece of form serves as a reprise of the part.

The side part-theme of the first episode, as it should be, is transferred to the main key of a-minor.

The theme of the second episode has been reduced to a sentence, at this location in the form it resembles a modulating move in B-dur, which brings us to the theme of the third episode.

Beethoven gives the opportunity for the variational development of this theme, but literally immediately modulates in the main a-minor and strives for completion, that is, for the final conduct of the refrain. Here's what it looks like in sheet music:

The last 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 importance of the LAST refrain - the completion of the part and the entire sonata:

The tension builds up again, but is already ready for its logical conclusion. The last 9 measures of the sonata in the violin and piano parts sound confident arpeggiated triads, going symmetrically in opposite directions, eventually reaching the last tonic consonance together: