Piano Sonata No. 15 (Beethoven)

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The Piano Sonata no. 15, op. 28 wrote Ludwig van Beethoven in 1801. It is Joseph Noble of Sun Rock dedicated. The autograph is called Grande Sonata . The work was published as Grande Sonate pour le Pianoforte and was later published by Cranz in Hamburg as Sonata pastorale . It is seldom heard in the concert hall. Recordings by Wilhelm Kempff , Artur Schnabel and Vladimir Sofronizki are noteworthy .


  • 1st movement: Allegro, D major, 34 , 461 bars
  • 2nd movement: Andante, D minor, 24 , 99 bars
  • 3rd movement: Scherzo, Allegro vivace, D major, 34 , 94 bars
  • 4th movement: Rondo, Allegro ma non troppo, D major, 68 , 210 bars

A special feature of the corner movements is that the main theme develops over an organ point . The "prelude" of the 1st movement is a whole measure. All sentences revolve around the fifth .

"For happy things and those that are big."

- Jean-Jacques Rousseau on D major

1 sentence

The even quarters in the bass on D over almost 40 bars - partly in the middle parts - form the foundation. The motif, descending an octave, begins above the dominant seventh chord and recurs in some form in all movements.

In the side movement Beethoven brings interesting figures, such as a four-part movement type with parallel bass and melody parts and an eighth note accompaniment in the middle parts, which was adopted by the Romantics, especially Schubert . At the end of the exposition , an octave figure with staccato chords in the bass indicates the Scherzo.

2nd movement

Accompanied by staccato sixteenth notes (as in the Scherzo of Piano Sonata No. 18 ), the vocal theme is reminiscent of a ballad . It appears four times, once in F major and once accelerated in thirty-second notes. The major contrast is formed by a dotted motif typical of Beethoven (“ramm-pa-bam”), followed by moody, dance-like sixteenth-note triplets in staccato. For a long time it was a favorite movement of Beethoven, which he often played.

3rd movement

The sketchy Scherzo has sparkling wit and enormous drive . The motif, descending over four octaves, expands into a third , sixth and sixth chord . The fifth is hidden in the eighth notes of the 1st quarter. The empty 3rd quarter refers to the 1st movement. The three times eight bars of the trio remain - with grumbling octaves to the left - softly in the parallel key of B minor.

4th movement

Similar to the 1st, the 4th movement begins with the organ point of the tonic - in the fifth and with drone ineffectiveness . Above it appears a short descending motif, related to the main theme of the first movement, which is repeated immediately. Only arpeggios release the tension of the basso ostinato .

Formally, the sentence is a bow rondo : ABACABA plus Coda. As is often the case in the final movements of Beethoven's piano sonatas, one can also identify a sonata main movement. This results in the following parts: exposition bar 1–50, main movement from measure 1, side movement from measure 29 (with upbeat) in the dominant key of A major; Implementation T. 51-113; Recapitulation bars 114–167, side movement from bar 145 in the basic key; Coda T. 169 to the end. All large molded parts start with the main theme, the A part of the rondo shape. The sonata ends in the Più Allegro as it were Presto . Both the octave bass and the 3rd and 6th eighth notes of the sixteenth-note figures on the right take up the fifth.

See also

Web links

Commons : Piano Sonata No. 15  - Collection of Images, Videos and Audio Files

Individual evidence

  1. Joachim Kaiser : Beethoven's 32 piano sonatas and their interpreters . S. Fischer, Frankfurt am Main 1975, pp. 282ff
  2. ^ Walter Riezler : Beethoven . Atlantis, Berlin 1936, p. 126