Piano Sonata No. 30 (Beethoven)

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Autograph of the beginning

The piano sonata No. 30 op. 109 in E major from 1820 is the third from last of Ludwig van Beethoven's piano sonatas . After the mighty Hammerklavier Sonata op. 106, he returned, long deaf, with it to smaller dimensions and a more intimate character. The sonata is dedicated to Maximiliane Brentano , the daughter of Beethoven's long-time friend Antonie Brentano . Beethoven had already composed the small piano trio in B flat major WoO 39 for them in 1812 .

Musically, the three-movement work is characterized by a free use of the traditional sonata form. His focus is on the third movement, a complex set of variations as in op.111 .

History of origin

Beethoven's study (by Johann Nepomuk Hoechle , 1827)

The compositional beginnings of op. 109 can be traced back to the first months of 1820. They preceded Beethoven's negotiations with Adolf Schlesinger , the publisher of his last three sonatas. Recent research suggests that Friedrich Starke asked Beethoven to write a contribution for his piano anthology Wiener Pianoforteschule. Beethoven had interrupted work on the Missa solemnis . In the end, however, he offered Starke the Bagatelles op. 119, nos. 7-11.

Speculation

In April Beethoven's conversation book describes a “little new piece” which, according to William Meredith, is identical to Vivace in the first movement of op. 109. In fact, the structure of the movement makes the thought of a bagatelle interrupted by fantasy-like interludes “seem entirely possible”. Beethoven's secretary Franz Oliva then suggested that Beethoven use this “little piece” as the beginning of the piano sonatas requested by Schlesinger. From July 9th, Beethoven composed the other two movements relatively quickly. Sieghard Brandenburg put forward the thesis that Beethoven originally planned a two-movement sonata without the first movement. Some of the motivic characteristics connecting the first movement with the other movements were apparently only integrated later. Alexander Wheelock Thayer, on the other hand, takes the view that the beginning of a sonata in E minor was not developed further by Beethoven and has nothing to do with op. 109.

For the third movement, Beethoven initially sketched six variations after Artaria 195 with a subsequent recurrence of the theme , later he apparently planned a sequence of nine variations without recurrence of the theme. However, these are not numbered consecutively and stand between other, fragmentary designs. The difference in the individual character of the individual variations seems to be smaller in this version than in the final print version, but, according to Kay Dreyfuss, indicates a “process of research and rediscovery of the topic in the development stage”.

pressure

It has not been conclusively clarified whether Beethoven completed the sonata in autumn 1820 or not until 1821. Letters to his publisher mention “completion” as early as 1820; However, it is unclear whether Beethoven was referring to finished concepts, drafts or a fair copy that could be sent. The first edition was published by Schlesinger in Berlin in November 1821. It still contained numerous errors because Beethoven was unable to proofread sufficiently due to an illness. The sonata is dedicated to Maximiliane Brentano, the musically gifted daughter of Franz and Antonie Brentano. She was possibly the so-called "Immortal Beloved" to whom Beethoven wrote his 1812 love letters. The date of the premiere is unknown.

General classification

Opus 109 is particularly to be considered with regard to Beethoven's late work, and here especially his last piano sonatas, which are again differently positioned, their deviations from the standard model of the sonata form , their harmonic , formal and other novelties or musical revolutions, as well as their rather placid character.

Beethoven's last sonatas

Opus 109 belongs to a group of three, five or six last sonatas by Beethoven, which are part of his late work. The different division stems from the fact that the sonatas from op. 90 onwards are formal and varied and contradictory in terms of the musical tendencies that dominate them. The pianistic means are reduced to simple, chamber music -like two-part voices - as in the first movement of op. 110 - or they are "silenced" in recitative-like parts, as in the third movement of the same work. These procedures contrast with an increased virtuosity and expansion of the form and also the overall length, as in the Hammerklavier Sonata op. 106 . The reminiscence of the simple style of the early sonatas (op. 109), which are reminiscent of Haydn , is sometimes juxtaposed with a "bitter harmony that anticipates the music of the 20th century and is sometimes shaped by dissonances ". The principles of polyphonic variation, as in the second movement of op. 109, and the associated recourse to baroque forms, especially the fugue or the fugue , are particularly important . Extreme positional tensions between bass and treble , a process of dissolving into ever smaller note values (as in the sixth variation of op.109 ), and the dissolution into sound surfaces from long trills ( variety six op.109 and op.111 ), arpeggios , ostinati and Tremoli are becoming increasingly important.

general characteristics

Opus 109 captivates with its intimate, less dramatic character and is characterized by special "singing", "melodic and harmonic beauties" and garlands and arabesques that seem to "anticipate" Chopin . As in many of Beethoven's late works, an inter-movement interval is significant in this sonata . Here it is the particularly consonant interval of the third . She shares the shift in emphasis to the final movement, as well as the resolution into “pure sound” and the recourse to older, baroque forms, with other late Beethoven sonatas. There are certain similarities to the beginning of the Piano Sonata op. 101.

key

In the course of music history there has been a lot of speculation and philosophy about the character of the individual keys . Often it has also been questioned whether the keys have any meaning at all.

But especially in the last three piano sonatas, which in a certain way can be regarded as a pianistic résumé of Beethoven's world of thought, the choice of keys is certainly not a coincidence, but rather carefully considered.

This becomes clear when you remember the role played by the keys in Beethoven's only opera, Fidelio . C minor and C major stand there for evil and good, for tyranny and freedom, for darkness and light, yes for hell and heaven. As in the opera or in the 5th symphony , Beethoven chooses these two keys in his last sonata op. 111 in order to proclaim his motto "through night to light" once more, in the sense of an invitation to humanity, defeat the evil in the world and create a world in which "all men become brothers". The dedication of this sonata to Archduke Rudolph may even include a direct appeal to a political authority to work for a liberation movement.

In the opera, A flat major is the key of Florestan languishing in dungeon, with whom Beethoven presumably identified himself in the A flat major Sonata Op. 110. This is almost compellingly suggested by the simple fact that this sonata is the only one without a dedication, i.e. that it remains entirely in Beethoven's possession and deals with its very interior.

Finally, E major is the key of Leonore in the opera, which in the E major part of her great aria climbs into heroic pathos of loving self-sacrifice. The idea of ​​salvation through the "eternal feminine" (Goethe) is certainly also reflected in the mysterious "immortal lover" of Beethoven. Against this background, it can hardly be a coincidence that the Sonata op. 109, which is dedicated to "Fräulein Maximiliana Brentano", is in the key of E major.

Deviations from the standard model

Op. 109 deviates from the “standard model” of the sonata in several ways. Despite its formal three movements, the work seems to be based on a "balanced two-movement". The first movement is connected to the scherzo-like prestissimo by an overhanging pedal . The internal design of the first movement is also less based on processing than on the contrasting juxtaposition of fast and slow, piano and forte , as well as major and minor . The second movement takes on the function of the main sonata form that was actually intended for the first movement . The third movement is then laid out in the form of theme and variations, which is actually alien to the sonata. The theme of the third movement takes on the role of the slow movement, which is usually second in the standard model of the sonata. Although the sonata is formally in three movements, it is referred to as two movements in some music guides or on audio recordings because of the transition between the first and second movement without a break, as well as the strong delimitation of the third variation movement. The musicologists Jürgen Uhde , Richard Rosenberg , Udo Zilkens and Carl Dahlhaus break the work down into three movements in their detailed analyzes.

Musical analysis

The three movements of Piano Sonata No. 30 are called:

The performance lasts about 20 minutes, of which the slow third movement takes up more than half. Overall, the sonata is characterized by a rich melody and interesting, complex harmonies .

First sentence

Measure 1–8 of the first movement ( audio sample ? / I )Audio file / audio sample

The first movement reflects the strong interest that Beethoven developed during this creative period in structures that are parentally enclosed by contrasting sections. The same tendency can be seen in the almost simultaneously composed Missa solemnis and the piano sonatas following Op. 109. A lyrically agitated major section in piano and vivace tempo is juxtaposed after only eight bars with an imaginative , arpeggiated dramatic adagio in minor and in forte (bars 9-15). In purely harmonic terms, too, the contrast between the two parts with a clear major in the first part and extremely tense diminished seventh chords can hardly be worked out more clearly.

Measure 9 to 11 of the first movement ( audio sample ? / I )Audio file / audio sample

Bar eight does not fully carry out the cadencing on the dominant B major, which is usual in the sonata main movement form to lead to a new group of themes . Bars 9–15 also avoid the cadence, which only occurs in bar 15. It therefore seems justified to give the first sentence the form scheme A1 - B1 - A2 - B2 - (A + B). Charles Rosen and others nevertheless interpret the first movement in terms of the sonata main movement form. You see this in A1 and B1 the first and second theme of the exposition realized, A2 and B2 regarded as implementation , and (A + B) as a coda . This analysis contradicts the fact that there is no real reprise of the stated exposition in the first movement .

Beginning of form part A2 in bars 22 to 27 of the first movement ( audio sample ? / I )Audio file / audio sample

Richard Rosenberg states that the sonata form is threefold, but cannot determine any theme duality within the exposition itself. He sees rather a correspondence between the upper parts of Vivace and Adagio, and the bass part of Vivace (E - D flat - C sharp - B - A - G sharp - B - E) as well as the middle part of the left hand of Adagio (D flat - E - F sharp - G sharp - A - C sharp - D flat - E).

Form part A2 (mm. 22–57) moves through distant keys relatively quickly . Although this is typical for developments, it seems questionable whether the increase over the successive, more than two- octave increase in the top tone of each bar from G sharp 1 (bar 26) to B3 (from bar 42) is interpreted solely as a processing of the theme can. B2 is not a simple transposition of B1. The section is partly designed differently, especially from bar 63, and also leads to the extremely distant key of C major. In the unison passage from bars 63–66, the significance of the third becomes clear again.

Vivace from Opus 79 - and simplification after Richard Rosenberg ( audio sample ? / I )Audio file / audio sample

The fifth subsection (for roses the coda) then synthesizes parts A and B. Here, bars 66-74 represent section A, while bars 75-85, with its block-like chord structures, represent section B - without its garlands. With the repeatedly falling step C sharp - B (later C - B) in bars 89-92, a bridge is built to the subsequent Prestissimo at the same time, in which the same large and small second step also maintains essential significance.

Jürgen Uhde and Richard Rosenberg see certain similarities between the vivaces the Piano Sonatas , Op. 79 and Op. 109th

Second sentence

The stormy E minor Prestissimo has already been described as one of Beethoven's most sungable Prestissimi. As in the first movement, the first theme (bars 1–8) , which consists mainly of triad rising tones , is supported by a gradually falling bass and bars 9–24 are continued in free form. Bars 25–32 modulate with an episode beginning in unison on the second theme (from bar 33) in the dominant B minor; this key is of course only really reached in bar 41/42 (and left again immediately), before the theme is in the double dominant seventh sound . The second theme starts with a reversal of the sequenced motif from bar 9/10; the usual contrast between the first and second topic is completely veiled here. The final group (bars 43–65), after further modulations, confirms the dominant key in B minor with a cadence . A recap of the first thread in B Minor (T. 66-69) results in the extremely short implementation (T. 70-104) which exclusively the descending bass line of the first theme in various gun techniques processed ( enggeführte imitation and reversal). A tremolo organ point leads to a calming down, this ends in a fermata , after which surprisingly nothing new comes, but the development is continued somewhat unchanged in character; only eight bars later does the recapitulation in E minor begin completely suddenly after a pianissimo F sharp major (the double dominant for the basic key) (from bar 105). In the first theme the upper and lower voices are swapped; Otherwise, the recapitulation is exactly like the exposition, apart from slight changes in the proportions: bars 9–24 have no equivalent in the recapitulation, but 120–131 and 132–143 are each around compared to their counterparts in the exposition four bars extended. The second theme (mm. 132-143) is now in the tonic. The final cadence leads into a short coda that climbs energetically from piano to fortissimo chords .

Third sentence

The first 8 bars of the theme. (The interval of thirds is blue, the fifth is red and the sixth is purple.) ( Audio sample ? / I )Audio file / audio sample

This consists of a theme with variations in character and piano technique.

theme

The vocal theme has a saraband-like character with its dots and emphasis on the second beat . The "dignified, thoughtful expression is strengthened by the emphasis on the keynote E." This is triggered in bars 1 and 3 by the descending third and later by other, more harmoniously tense intervals such as the descending fifth in bar 5 and the sixth in bar 7. The first two bars are present in variants in the first 8 bars. Bars 1–2 and 5–6, as well as 3–4 and 7–8 are based on two common basic series G sharp - E - D flat - B, as well as G sharp - E - F sharp - A sharp - H.

Basic series of the topic after Jürgen Uhde

The bass rises by one and a half octaves in bars 1-4 and thus forms a contrast to the bass of the first two movements and to the theme, which moves in a relatively narrow range. Bars 9-16 continue the theme on the dominant H. The accompaniment is expanded from single notes to two and three chords and thus leads to the full-fledged accompaniment of Variation 1.

Variation 1

Measure 1–5 of Variation 1 ( audio sample ? / I )Audio file / audio sample

This maintains the pace of the topic. In contrast to the quartet movement on the theme, it is set more like a piano. The melody, however, is shifted up an octave. It seems more passionate and agitated, and has the form of a “ceremonial waltz ”. With its accompanying formulas in the left hand, the “garlands” (e.g. in measure 3) and the more differentiated dynamics, it already reminds us, especially in the left hand to some of the later compositions by Frederic Chopin or Debussy's Prelude Danseuses de Delphe .

Variation 2

Part A reminiscent of Vivace (bars 1 and 2), as well as part B (bars 9 and 10) ( audio sample ? / I )Audio file / audio sample

The second variation suggests a faster pace. They can be divided into sections A - B - A '- B - A'. The first section (bars 1–8) is strikingly reminiscent of the Vivace of the first movement. The short section B (bars 9-12) then again emphatically emphasizes the interval of the third to chords of the left hand repeated in eighth notes . This is additionally highlighted by a trill. A´ (bars 13–24) transfers the rhythmic pattern from bars 1–8 to chord blocks that alternate between left and right hands; From bar 17, pattern A is used in an extremely elevated position. After a repetition of B (bars 17-20) on the dominant level, A 'closes the variation.

Variation 3

Measure 1–8 of Variation 3 ( audio sample ? / I )Audio file / audio sample

From Variation 3 onwards, the piano setting is increasingly condensed in a contrapuntal way. The time signatures of the initial 3/4 time change frequently (2/4, 9/8). Variation three is strongly reminiscent of a two-part invention by Johann Sebastian Bach . A four-bar theme, mainly based on thirds, is accompanied by a sequencing sixteenth-note figure. In bars 5–8, the positions with the theme now appearing in the bass are swapped, in bars 9–16 this model is retained using increasing seconds. The character of the variation, which is characterized by continuous sixteenth notes, is also retained here using octave fingerings in the other hand.

Variation 4

Imitation in bars 3 and 4 of the fourth variation ( audio sample ? / I )Audio file / audio sample

At the beginning, Variation 4 is based on the imitating use of four successive voices in different registers (positions of the piano) . The structure and tonal density are of course increased compared to the two-part version of Variation 3. But from bar 6 the strict baroque model is interpreted more freely and increasingly abandoned. The tempo is a little slower than the previous variation. From bar 11 to the end of the variation, chordal setting again dominates the variation with an emphasis on the top notes and a final arpeggio (bars 14-18). Significantly, Beethoven gives significantly less dynamic instructions and differentiations in the baroque sections than in bars 11-17.

Variation 5 (Allegro ma non troppo)

After Variation 4, Beethoven leaves the designation Variation 1, 2, 3, ... and only prefixes the following sections with general tempo indications such as “Allegro ma non troppo” or “tempo primo del tema (tempo of the first theme)”. The reasons for this are unclear. Nevertheless, it has become established in musicology to name these parts as Variation 5 or 5 and 6.

Polyphonic beginning of Variation 5 with narrow, fugal inserts of the voices ( audio sample ? / I )Audio file / audio sample

Variation 5, permeated with rhythmic energy, at least initially realizes the strict model of a complex, polyphonic, chorale-like fugue. It can thus be regarded as the polyphonic climax of the series of variations. But already from bar 9, the “school-like” rigor is abandoned in favor of continuous eighths of the left and right hand in extreme positions. From bar 16, chords and thirds increasingly replace the initially almost purely contrapuntal structure.

Variation 6

At the beginning of this variation - in extreme contrast to the energy and agitation of the previous one - there is a four-bar passage in piano and tempo of the original theme (tempo primo del tema) in slow quarters, which Beethoven called “cantabile”.

Wide gaping registers in measure 30 and the last variation ( audio sample ? / I )Audio file / audio sample

Its static and calm character is emphasized by the insistence on the top note H. At the end of the sonata, Beethoven intensified almost all musical parameters to the utmost. The note values ​​are rhythmically intensifying from quarters to eighths, eighth notes , triplets , sixteenths, up to thirty-second notes. In terms of location, this section is intensified by a juxtaposition of extremely high, distinctive peak notes and deep bass notes. In addition, as a further enhancement feature, from bar 12, long trills appear in both hands and from bar 17 frenzied arpeggios and sequences of the upper part . The last 16 bars repeat - as if nothing had happened - the simple opening theme.

Cross-sentence elements

Similarities of core elements (according to Uhde) between first and third sentence

Some musicologists see motifs, scale excerpts , rhythmic models and typical twists and turns in the first and second movements , which are only realized in the third movement. Jürgen Uhde, for example, does not see sentences one and two as fully valid "forms that exist on their own". Instead, "they already announced, often in secret or in paraphrase, the theme of the third movement as the actual goal of the entire sonata." In this way, the similarities between the first and third movement shown in the musical example can be constructed in detail. Uhde also sees parallels between the second and third movements.

In his “reductions”, Richard Rosenberg concentrates more and more on the commonalities of the bass and middle voices on which the individual movements are based. Based on the notation shown in the chapter on the first movement , he reduced the bass lines of the individual movements to an essential basic model that progresses in seconds and then emerges in thirds (see note example).

Similarities of core elements (according to Rosenberg) between first and third movement

However, this method - reminiscent of Heinrich Schenker's determination of an original sentence by means of reduction analysis - is often only possible by means of a number of simplifications and eliminations of inappropriate tones and elements. Uhde and others also often point out the danger of overinterpreting parallels in sections that are hardly related to one another.

Heinrich Schenker's interpretations of Beethoven's works in Beethoven, for example - the last sonatas are hard to beat in terms of thoroughness.

Carl Dahlhaus also sees - although he is critical of the primordial cell theory - particularly in the bass figures of the first two movements, elements that encompass movements are realized in a “thematic or subthematic context”.

“And from the Prestissimo light falls back on the Vivace, if one assumes that the thematic-motivic connection of the movements of a cycle is one of the defining characteristics of Beethoven's late style, that is, a fact that is only vaguely apparent in Vivace is that he stands out unmistakably in Prestissimo, also gains plausibility in Vivace. "

Realizations

With regard to the tonal, dynamic , tempo-wise, and agogic realization of Op. 109, many questions must remain unanswered, although Beethoven pushed for the more precise definition of execution parameters, in contrast to Haydn or Mozart.

Tempo and expression instructions

From op. 90 onwards, the execution instructions - partly in Italian and German - were increasingly differentiated and specified in more detail with previously unusual expressions . Beethoven was increasingly dissatisfied with the vague tempo markings and advocated increasingly precise indications according to the new Mälzelian metronome .

"[...] as far as I'm concerned, I have long thought about giving up these absurd names Allegro, Andante, Adagio, Presto: Maelzel's metronome gives us the best opportunity."

Nevertheless, the Hammerklavier Sonata is the only sonata in which Beethoven sent the publisher precise metronomizations.

"I think the metronomic tempos for the sonata are missing, I will send them with the next post day."

The traditional tempi of Carl Czerny and Ignaz Moscheles were: 100 and 112 for Vivace and 66 and 72 for Adagio. Prestissimo and the movement of variations were taken almost equally by both in terms of tempo.

Piano sound

After Beethoven used the harpsichord and clavichord , later pianos by Johann Andreas Stein and Anton Walter and from 1803 a grand piano by Erard , in 1818 he was given an English Broadwood grand piano with improved sound volume, stronger bass, easier attack and a better treble sound. There is strong evidence that he made greater use of these instrumental advantages in his late work from Opus 90 - especially in the comparison of extremely deep bass and high treble registers and the frequent use of trills.

Interpretations

Over the years, Opus 109 has experienced many internal and external musical interpretations, some of which have been lyrically exaggerated.

Contemporary reception

The reactions to op. 109 during Beethoven's lifetime were predominantly positive and related mainly to the technical mastery and the melodious ingenuity of the work. The newspaper for theater and music in 1821 particularly emphasized the classicism compared to op.106:

“This ingenious piano composition is a new proof of the inexhaustible fantasy and deep knowledge of harmony of the wonderful tone poet, who in this classic solo allowed himself less rambling ideas and exotic originality than in the penultimate great Sonata in B flat major. […] The feeling of being more intimate is the richly and newly varied theme of the vocal Andante, which animates the magical charm of the melody. "

The Allgemeine musical newspaper from Leipzig wrote in 1824:

“The first movement of the Sonata Op. 109 (Note that this is Vivace) […] has something touching about it and in several places something soothing. [...] The Prestissimo, E minor 6/8 time, which now follows and, in our opinion, must be performed immediately after the previous movement, if the effect of the whole is to be complete, is a very excellently successful piece. "

The "highly singable, extremely tender and lovely melody of the Andante" as well as the skill of the variations are emphasized:

"Var. 3 Allegro vivace 2/4 time, one cannot praise it enough […] Certainly, this little movement (note: this means Var. 5) with its serious physiognomy in the so-called gallant style, contains within the narrow limits that were placed on it are so much evidence of the great master's artistry that some of his strict joints can hardly be demonstrated. "

Adolf Bernhard Marx , one of the most respected musicologists of the 19th century, stated in 1824 the “change between prelude-like parts in the Vivace sections and the Adagio”, but criticized:

“But Rescent has to admit that he found no leading idea in this whole first sentence; […] In the whole sentence there is indeed something so restrained and, despite the lovely passages, something unsatisfactory. "

However, he found words of praise for the Prestissimo and the Andante.

First performances

The first pianists who made it their task to bring the last Beethoven sonatas - and thus also Op. 109 - closer to the audience were Franz Liszt , who regularly included them in his program between 1830 and 1840, and Hans von Bülow , who even included several who performed late sonatas in one evening.

Today's interpretations

The well-known pianist and author Paul Badura-Skoda wrote specifically about Opus 109:

“Music is a woman, music is intended for a woman. - Stay a while, you are too beautiful, the secret message seems to be. The keynote E lingers in the whole sonata. [...] If the harmony rests for long stretches, all love and care is given to the garlands, the decoration of the melody [...] As changeable as the valuation of the word beauty may be. [...] In no sonata did Beethoven spread her cornucopia more richly. "

Dedicated to Opus 109 - Maximiliane von Brentano

The music critic Joachim Kaiser wrote on Opus 109 on the one hand:

"Sensitive interpreters make the E major sonata a symbol of an ever more intimate, ever more sublime, ever more unrestricted melodic happiness."

On the other hand, he emphasized the contrast to the more dramatic and excessive neighbors Op. 106, 110, and 111:

“In this melody-filled sonata, Beethoven repeatedly demands espressivo or dolce. And the most weighty movement, the variation finale, should be performed with “the most intimate feeling”. Does the eruption of the Hammerklavier Sonata now be followed by an almost unchallenged lyrical confession, hardly bothered by harshness and polyphonic insanity? Does Opus 109 reconcile the tensions that still existed in Opus 101 between infinite melody and a violent cult of determination? "

The pianist Anton Kuerti wrote:

“Here we witness the master's improvisation with very simple material, mainly arpeggios, and indeed […] the virtuoso has to imagine Beethoven improvising at the piano with inspired conviction, especially in the recap, where some of the harmonies are otherwise clumsy, almost closed could take on a simple character. "

About the third sentence he wrote:

“All the turmoil is behind us, and we are enveloped in music that is both cheerful and powerful. The treatment of the following variations is completely free and alternately uses a few fragments of the melody, harmony and rhythm of the theme. "

See also

swell

Sketches

Autograph

literature

  • Eric Blom: Beethoven's Pianoforte Sonatas Discussed . New York 1968 (English, first edition: 1938).
  • Alfred Brendel : Form and Psychology in Beethoven Piano Sonatas . In: Thinking About Music . Munich 1982, ISBN 3-492-28244-X .
  • Alfred Brendel: Cantabile and thematic process - the transition to the late work in Beethoven's piano sonatas . In: AfMw 37. 1980.
  • Carl Dahlhaus , Alexander L. Ringer, Albrecht Riethmüller: Beethoven - interpretations of his works . tape 2 . Verlag Laaber, 1994, ISBN 3-89007-304-2 .
  • Patrick Dinslage: Studies on the relationship between harmony, metrics and form in Ludwig van Beethoven's piano sonatas . Verlag Katzbichler, 1987, ISBN 3-87397-073-2 .
  • Kay Dreyfuss: Beethoven's last five piano sonatas . Melbourne 1971 (English).
  • Edwin Fischer : Ludwig van Beethoven's piano sonatas - a companion for students and enthusiasts . Insel-Verlag, Wiesbaden 1956.
  • Joachim Kaiser: Beethoven's 32 piano sonatas and their interpreters . Verlag Fischer Taschenbuch, Frankfurt am Main 1999, ISBN 3-596-23601-0 .
  • William Kinderman: Thematic Contrast and Parenthetical Enclosures in the Piano Sonatas, op. 109 and 111 . In: On Beethoven - essays and documents . tape 3 . Berlin 1988 (English).
  • William Kinderman: Artaria 195 - Beethoven's Sketchbook for the Missa Solemnis and the Piano Sonata in E Major Opus 109: Beethoven's Sketchbook for the Missa Solemnis and the Sonata in E Major, Opus 109 . University of Illinois Press, ISBN 0-252-02749-3 (English).
  • Carl Heinz Mann: Formal Problems in Beethoven's Late Works - Investigations into the Style of Chamber Music and Piano Works . Hamburg 1955.
  • Siegfried Mauser: Beethoven's Piano Sonatas - A musical guide . Verlag CH Beck, Munich 2001, ISBN 3-406-41873-2 .
  • Nicholas Marston: Beethoven's piano sonata in E, op.109 . Clarendon Press, University Press, Oxford, New York 1995, ISBN 0-19-315332-7 (English).
  • William Meredith: The Origins of Beethoven's Piano Sonata in E Major, Opus 109 . 1985 (English).
  • Willibald Nagel: Beethoven and his 32 piano sonatas . tape 2 . Publishing house Beyer & Sons, Langensalza.
  • Claus Raab: Beethoven's Art of the Sonata - The three last piano sonatas op. 109, 110, 111 and their theme . Pfau-Verlag, 1996, ISBN 3-930735-60-1 .
  • Rudolph Reti: Thematic Patterns in Sonatas of Beethoven . Faber and Faber, London 1967, ISBN 0-571-08093-6 (English).
  • Hugo Riemann : Ludwig van Beethoven's complete piano solo sonatas - aesthetic and formal-technical analysis with historical notes . tape 3 . Berlin 1919.
  • Richard Rosenberg: Ludwig van Beethoven's piano sonatas - studies on form and performance . tape 2 . Urs Graf-Verlag, 1957.
  • Heinrich Schenker : Beethoven - the last sonatas . Universal Edition, Vienna.
  • Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven . Verlag FA Brockhaus, Leipzig 1970, ISBN 3-7653-0118-3 .
  • Donald Francis Tovey: A Companion to Beethoven's Pianoforte Sonatas - Complete Analyzes . Ams Pr, London 1931, ISBN 0-404-13117-4 (English).
  • Jürgen Uhde : Beethoven's piano sonatas 16–32 . Verlag Reclam, Ditzingen 2000, ISBN 3-15-010151-4 .
  • Udo Zilkens: Beethoven's finals in the piano sonatas . Tonger Musikverlag, 1994, ISBN 3-920950-03-8 .

Web links

grades

Individual evidence

  1. ^ Joseph Kerman, Alan Tyson: Beethoven. Translated from the English by Annette Holoch. Metzler, 1992, ISBN 3-476-00853-3 .
  2. ^ William Kinderman: Beethoven. 1995, p. 218
  3. ^ William Meredith: The Origins of Beethovens op. 109. quoted from Carl Dahlhaus, p. 162.
  4. ↑ Cooper, pp. 279-280; quoted from www.raptusassociation.org
  5. ^ Sieghard Brandenburg: The sketches for the ninth symphony. P. 105.
  6. ↑ Alexander Wheelock Thayer; quoted from www.raptusassociation.org
  7. ^ Nicholas Marston: The sketches for Beethoven's Piano sonata in E, Opus 109 , Volume 1, 1985, p. 213.
  8. ↑ Udo Zilkens, p. 226.
  9. ↑ Kay Dreyfuß: Beethoven's last five piano sonatas. Melbourne, 1971, p. 194: "... a process of exploration and re-discovery of the theme."; quoted from Udo Zilkens, p. 226.
  10. ↑ a b www.raptusassociation.org
  11. ^ William Meredith: The Sources for Beethovens Piano Sonata in E major, Opus 109. Quoted from Carl Dahlhaus, Alexander L. Ringer, and Albrecht Riethmüller: Beethoven - Interpretations of his works , p. 163.
  12. ↑ Maynard Solomon: Beethoven. 1979, p. 158 ff; and Harry Goldschmidt: To the Immortal Beloved. An inventory. Leipzig 1977, p. 229ff.
  13. ^ Siegfried Mauser: Beethoven's Piano Sonatas - A musical work guide, CH Beck, Munich, 2001
  14. ↑ Kay Dreyfuß: Beethoven's last five piano sonatas. Melbourne, 1971
  15. ↑ Jürgen Uhde: Beethoven's piano sonatas 16 - 32. Reclam, Ditzingen, 2000
  16. ↑ a b Udo Zilkens: Beethoven's finals in the piano sonatas. Pp. 128, 130, and 230
  17. ^ Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Wiesbaden, 1970, p. 169.
  18. ^ Siegfried Mauser: Beethoven's piano sonatas - A musical work guide, CH Beck, Munich, 2001, p. 138.
  19. ^ Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Wiesbaden, 1970, p. 192 ff.
  20. ^ Siegfried Mauser; P. 140.
  21. ↑ Udo Zilkens: Beethoven's finals in the piano sonatas. P. 14 and 15
  22. ↑ Richard Rosenberg: The Piano Sonatas Ludwig van Beethoven, Volume 2. S. 401.
  23. ^ A b Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Wiesbaden, 1970, p. 163.
  24. ↑ Clemens Kühn: Form theory of music. P. 206.
  25. ^ Arnold Werner-Jensen: Reclam's music guide Ludwig van Beethoven. Reclam, 1998, ISBN 3-15-010441-6 , pp. 92ff.
  26. ^ For example, in Friedrich Gulda 's complete recording of the Beethoven sonatas
  27. ^ Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Wiesbaden, 1970, p. 192 and 193
  28. ↑ Patrick Dinslage: Studies on the relationship between harmony, metrics and form in Ludwig van Beethoven's piano sonatas. P. 85 ff.
  29. ^ Charles Rosen: Sonata Forms. Norton, 1988, p. 283.
  30. ↑ Richard Rosenberg: The Piano Sonatas Ludwig van Beethoven, Volume 2. S. 402 and 403
  31. ^ Jürgen Uhde: Beethoven's piano sonatas 16-32. Pp. 475 and 476
  32. ^ Richard Rosenberg: Ludwig van Beethoven's piano sonatas. Volume II, pp. 401 and 402
  33. ^ Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Wiesbaden, 1970, p. 195.
  34. ↑ See Alfred Brendel: The late style. In: Thinking About Music . Munich 1982, p. 82.
  35. ↑ Characterization based on Hugo Riemann ; quoted from Richard Rosenberg: Ludwig van Beethoven's piano sonatas, Volume II , pp. 408 and 409
  36. ↑ Carl Dahlhaus, Alexander L. Ringer, and Albrecht Riethmüller: Beethoven - interpretations of his works, Volume 2. P. 166.
  37. ^ Jürgen Uhde: Beethoven's piano sonatas 16-32. Reclam, 2000, p. 467.
  38. ^ Jürgen Uhde: Beethoven's piano sonatas 16-32. Reclam, 2000, p. 491.
  39. ↑ Siegfried Mauser, p. 140.
  40. ↑ Richard Rosenberg: Ludwig van Beethoven's piano sonatas, Volume II. Pp. 409 and 410. Rosenberg uses bars 16-20 from Chopin's Waltz Op.34, No.2 as an example
  41. ^ Jürgen Uhde: Beethoven's piano sonatas 16-32. Reclam, 2000, p. 490.
  42. ↑ Udo Zilkens: Beethoven's finals in the piano sonatas. P. 138.
  43. ↑ a b Udo Zilkens: Beethoven's finals in the piano sonatas. Pp. 138 and 139
  44. ↑ a b Jürgen Uhde: Beethoven's Piano Sonatas - 16–32. P. 465 and 471 ff.
  45. ^ Jürgen Uhde: Beethoven's Piano Sonatas - 16-32. P. 472.
  46. ^ Richard Rosenberg: Ludwig van Beethoven's piano sonatas, Volume 2. P. 404-407.
  47. ^ Carl Dahlhaus: Ludwig van Beethoven and his time. Laaber, 1993, p. 126 ff.
  48. ^ Carl Dahlhaus: Ludwig van Beethoven and his time. Laaber, 1993, p. 261.
  49. ^ Carl Dahlhaus: Ludwig van Beethoven and his time. Laaber, 1987, pp. 258-259.
  50. ↑ Quoted from Siegfried Mauser: Beethoven's piano sonatas. P. 153. See also Beethoven's relationship to the metronome. In: Music Concepts , 8, Beethoven - The Problem of Interpretation . 1979, pp. 70-84.
  51. ↑ Beethoven to Ries on May 25, 1819; according to music concepts , 8, Beethoven - The problem of interpretation . 1979, p. 81
  52. ^ Heinz-Klaus Metzger, Rainer Riehn: Beethoven - The problem of interpretation (music concepts 8). edition text + kritik, Munich, 1979, p. 94.
  53. ^ Siegfried Mauser: Beethoven's piano sonatas. P. 156.
  54. ↑ Newspaper for Theater and Music. Volume 1, p. 184; quoted from Stefan Kunze: Ludwig van Beethoven - The works in the mirror of his time . Laaber, 1987, p. 357.
  55. ^ General musical newspaper. Leipzig, 1824, columns 213-215; quoted from Stefan Kunze: Ludwig van Beethoven - The works in the mirror of his time . Laaber, 1987, p. 360.
  56. ^ General musical newspaper. Leipzig, 1824, columns 213-215; quoted from Stefan Kunze: Ludwig van Beethoven - The works in the mirror of his time . Laaber, 1987, p. 361.
  57. ^ General musical newspaper. Leipzig, 1824, columns 213-215; quoted from Stefan Kunze: Ludwig van Beethoven - The works in the mirror of his time . Laaber, 1987, pp. 361 and 362
  58. ↑ Berliner Allgemeine Musikalische Zeitung. Year 1, 1824, pp. 37 and 38; quoted from Stefan Kunze: Ludwig van Beethoven - The works in the mirror of his time . Laaber, 1987, p. 367.
  59. ^ Paul Badura-Skoda, Jörg Demus: The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Wiesbaden, 1970, p. 192.
  60. ↑ Joachim Kaiser : Beethoven's thirty-two piano sonatas and their interpreters. 1984
  61. ^ A b Carl Dahlhaus, Alexander L. Ringer, and Albrecht Riethmüller: Beethoven - interpretations of his works. Volume 2, p. 162.
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