Piano Sonata No. 12 (Beethoven)

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The Sonata no. 12 in A-flat major is a piano sonata by Ludwig van Beethoven . Composed between 1800 and 1801, it is entered in Beethoven's complete works as Opus 26. The recipient of the dedication is Prince Karl von Lichnowsky , to whom Beethoven dedicated many of his works. From a musical point of view, the sonata marks a conceptual change in Beethoven's piano work. While the previous sonatas were entirely based on the classical structure, this and the two subsequent sonatas are now followed by three very experimental piano works in which Beethoven discards the formal principles of the classical sonata structure and surprises with something that has never been seen before.

History of origin

The first plans for the composition in the form of sketches can be traced back to the years 1795 and 1796. The final elaboration of the sonata did not take place until 1800 and 1801, during one of Beethoven's most productive creative phases. At around the same time, Beethoven also completed his first symphony . The work was published in 1802 by Giovanni Cappi in Vienna as the “Grande Sonate” . The sonata is the first work of this genre whose autograph has been fully preserved. This is currently in the possession of the Jagiellonian Library in Krakow. The sonata is dedicated to Prince Karl von Lichnowsky, an important patron of Beethoven, who has given Beethoven significant financial support over the years. Even during Beethoven's lifetime, the sonata enjoyed great popularity at an early stage, as it hit the contemporary spirit with its structure and musical statement. This can be seen, for example, in the number of work adaptations that have occurred over time. For example, the first movement was arranged in 1830 as the opening number of a ballet. In 1822 the sonata was arranged for string quartet. There was also an arrangement for two guitars and even a version for a man's trio.

construction

  • First movement: Andante con variazioni , A flat major, 3/8 time, 219 measures
  • Second movement: Scherzo: Allegro molto , A flat major, 3/4 time, 96 bars
  • Third movement: Maestoso andante (Marcia funebre sulla morte d'un eroe) , A-flat minor, 4/4 time, 75 bars
  • Fourth movement: Allegro , A flat major, 2/4 time, 169 bars

First sentence

Beethoven begins the sonata quite unusually with a movement of variations (although Mozart had already done this in his famous A major sonata ). The theme is in three parts and contrasts worn eighth notes with smaller, dotted rhythms and decorations. In the following five variations Beethoven uses very contrasting techniques - sometimes he adds small runs, then sounded the theme in alternating chords, then moved rhythmically, even after flat minor transposed and dissonant suspensions distorted and finally in the last variation in Zweiunddreißigstelfiguren dissolved.

Second sentence

The Scherzo is Beethoven's replacement for the previously common menuetto . A typical Beethoven movement full of Sforzandi and sudden changes, especially in dynamics .

Third sentence

This phrase is a little secret in itself. A funeral march only occurs at this point in Beethoven's piano work, and there is also the fact that Beethoven adds an addition to the sentence heading here once: “sulla morte d'un eroe” (on the death of a hero). Whether this hero actually existed (compare it to the funeral march of the Third Symphony , which was originally dedicated to Napoleon , who was at times revered by Beethoven ) or whether this march referred more generally to the type of “hero” who was just beginning to emerge from the French Revolution had become popular can no longer be clearly clarified. In contrast to the dark and very serious pathos of the funeral march in the 3rd symphony, this funeral march appears to be a bit “theatrical”, it is more of a kind of played or portrayed mourning.

According to the heading, the set is characterized by dotted note values, in the trio you can then make out drum rolls and fanfare beats imitated by the piano .

Fourth sentence

The movement is based on a third - sixth alternation in sixteenth notes. It is noticeably short ( Friedrich Gulda needs less than 2½ minutes in his recording of the sonatas from 1967) and is therefore quite “ etude-like ”. Formally, the sentence is a rondo ; however, as is so often the case with Beethoven, there are signs of a discussion of the main sonata form. Written as a contrast to the funeral march, this sentence is cheerful and powerful. Pianissimo it ends in a satisfied murmur.

See also

literature

Web links

Individual evidence

  1. Jürgen Uhde: Beethoven's 32 piano sonatas . Reclam-Verlag, 1968, ISBN 3-15-018958-6 , p. 317.
  2. ^ Hans-Joachim Hinrichsen : Beethoven - The piano sonatas . Bärenreiter-Verlag, 2013, ISBN 978-3-7618-1890-9 , p. 153.
  3. Jürgen Uhde: Beethoven's 32 piano sonatas . Reclam-Verlag, 1968, ISBN 3-15-018958-6 , p. 318.