Piano Sonata No. 23 (Beethoven)

from Wikipedia, the free encyclopedia

Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 , nicknamed the Appassionata, is one of the composer's best-known piano works and is the epitome of expressive solo virtuosity. The sonata is a high point in Beethoven's oeuvre. It was written in 1804 and 1805 and published in Vienna in 1807.

Beethoven dedicated it to Count Franz von Brunsvik , at whose castle he was a guest during this time.

meaning

The sonata was given the nickname “Appassionata” (The Passionate) in 1838 by the Hamburg publisher Cranz when an arrangement for four hands was published.

The Appassionata marks a turning point in Beethoven's oeuvre, especially within the piano sonatas.

The popular - albeit controversial - three-part division of the work into early, middle and late Beethoven (for the sonatas about op. 2 to 22 - op. 26 to 90 - op. 101 to 111) assigns op. 57 to the middle phase, in which the "abundant abundance of inspirations" recedes in favor of an "increased will to organize large spaces organically". Orientation towards the four-movement Haydn model consisting of the main movement, slow movement, scherzo and a rondo final movement in well-proportioned forms is gradually abandoned. The cross-sentence functions and length proportions of the individual sentences also shift in favor of the final sentence. An individualistic will to express, which increasingly ignores the formal requirements and is based on extra-musical "poetic reproaches", increasingly overcomes the traditional forms.

Within the group of middle sonatas, the Appassionata with the Waldstein Sonata again occupies a special position for several reasons. It represents a climax and endpoint in the further development of a pianistic virtuosity designed for external impact. Op. 57 follows - after five years without a piano sonata - with the sonatas Nos. 24 to 27, relatively “moderate-inwardly classical” works.

In doing so, according to Edwin Fischer , Beethoven forces this form-breaking “expression of radical subjectivity” anyway - or precisely because of it - into a “corset of classical scaffolding” , which he applied less strictly in the sonatas before and after.

Siegfried Mauser interprets the tension between form and emotional content as follows: "Especially the external normalities seem to fulfill the function of a laboriously achieved, stabilizing external hold against the eruptions inside."

construction

  • First movement: Allegro assai, F minor, 12/8 bars, 262 bars
  • Second movement: Andante con moto, D flat major, 2/4 time, 97 bars
  • Third movement: Allegro ma non troppo, F minor, 361 bars

First sentence

The analysis and structure of the first movement, and especially the exposition, in the sense of the traditional sonata form is difficult. This has led to musicology arriving at different results and structuring schemes.

Exposure

Measure 1 to 16 of the first movement

The main movement (bars 1-24) is made up of heterogeneous elements and is characterized by extreme contrasts in position, movement type, dynamics, tempo and agogic.

A first four-stroke engine (T. 1-4) is of a two-stroke, first off then ascending dotted rhythmic, broken F Minor - triad formed. The unison movement, noted two octaves apart, creates a dark, eerie effect. Bars 3 and 4 in C major conclude the four bar and temporarily brighten the gloomy mood - also through the included trill. Bars 5 to 8 bring an unusual repetition of the figure in G major , set a semitone higher ( audio sample bars 1-8 ? / I ) This is followed by an eight-bar development (bars 9 to 16) which first splits off the motif from bar 3 and 4 combined with a four-tone, four-tone "knock motif". Many authors point to the similarity with the well-known “fate motif” of the 5th Symphony . (However, the fundamental rhythmic difference must not be overlooked: In the “Appassionata”, the first of the three eighth notes is emphasized in the knock motif because of the 12/8 time. In the 5th symphony, the emphasis in the corresponding figure is on the second of the three Eighth notes.) The fourth occurrence of the knocking motif ends in bar 14 in a virtuoso, zigzag cascade of sixteenth notes, which harmoniously plays the diminished seventh chord (egb-des) and is caught at the end by two chords (D flat major and C major). ( Audio sample bars 8-16 ? / I ) The following six bars (bars 17 to 22) represent a repetition of the first four bars that is extended by full-fingered, syncopically ascending chord passages, and are characterized by an extreme dynamic contrast between ff and p ( Audio sample bars 17-22 ? / I ). Bars 24 to 35 can then be understood as a modulating transition to the A flat major of the secondary theme. With the E- flat in eighth notes, which is constantly repeated in the left hand , the auditory impression clearly distinguishes it from the previous parts.Audio file / audio sample Audio file / audio sample Audio file / audio sample

Secondary theme (bars 34 to 38) of the first movement

The ascending secondary theme in A flat major from bar 35 (initially a broken triad again) is more balanced and sustained than the main theme. It has the same dotted rhythm, but forms a contrast to the main theme through its key, direction of movement and accompanying form, and follows a rather self-contained melody. It begins with a four- bar and its repetition (bars 35-42) , although only the first two bars are repeated. From bar 41 there is a "darkening stagnation" of the melody flow, which, after three long trills, is followed by a four octave downward eighth movement.

The final movement begins with a four- bar repetition in a position offset up by an octave (bars 51-58) , which, with its continuous sixteenth notes, represents an acceleration compared to the eighth notes that have dominated the secondary theme so far. The major lightening of the secondary theme in A flat major is ended by A flat minor. The four-strokes consist of two completely different two-strokes in terms of motifs. The last bar of the four-beats takes up the knocking motif in the bass, which varies in bars 59 to 64 - e.g. B. in the enlargement - is picked up and the exposure is ended.

The exposition in particular is formally interpreted very differently. While Erwin Ratz and Jürgen Uhde interpret the main theme as a 16-bar movement made up of two four-beats and an eight-bar development, Richard Rosenberg interprets the four-beats as the first and second tunnels followed by an eight-bar swan song . Hugo Riemann tries to fit it into the scheme of the eight-bar periods he valued, while Heinrich Schenker and Adolf Bernhard Marx see bars 1-16 as the antecedent and 17-32 as the suffix.

execution

In the implementation, the outer parts of the movement are intensified by developing the thematic material. Badura-Skoda counts the increases in the main and secondary theme "pianistically among the greatest inspirations from Beethoven". The thematic development can be brought about in detail by modulations, sequences, split-off motifs, shifting themes from major to minor and vice versa, increasing rhythmic movement, dynamics and register changes, and melodic or rhythmic shortenings. Many authors emphasize that in the development of the Appassionata more thematic material, especially from the secondary theme, is used than in most of Beethoven's other sonatas.

Bars 67 to 78 are based on bars 1-4 of the main theme, this time starting from E major. From bar 79 the ascending triad from bars 1-2 becomes a rapid accompaniment of sixteenth-note quintuplets and sextuplets sequencing (E minor - G major - C minor - E flat major - A flat major - and C diminished) in one Bass line screwed up several times by up to five octaves.

Bars 79 to 82 of the first movement

Then from bar 93 the transition from bars 24 to 35 including its accompanying form is taken up. The two-fold upward movement of the third octave apart is now reversed downwards. A sequencing pendulum movement, guided in parallel in both hands, leads into the processing of the secondary theme from bar 109.

In contrast to the exposition, however, this is led by rapidly changing chord progressions (B flat major - D flat major - F major - G flat major / F sharp major - B minor - G major) to the dominant harmony in C major in bar 122 . This, however, is not retained for the few bars up to the recapitulation, but the listener is left in the dark for seven bars (bars 123-129) with an ambiguous diminished seventh chord (des - e - g - b).

Recapitulation

After the unleashed storms of the development (bars 67-136), the recapitulation begins with the main theme set in octaves on a throbbing triplet rhythm. In the further course the recapitulation corresponds almost exactly to the exposition, but u. a. with the following changes: The fortissimo outbreak of the first theme is not in F minor, but in F major. The second theme now appears in this key. In the final group, the A minor of the exposition is replaced by F minor.

Coda

According to Uhde (Volume 3, pp. 211 ff), the recapitulation ends in measure 204 and the coda also begins there. This can be broken down as follows:

I review of theme 1, F minor and D flat major (T. 204 - 205)
II review of topic 2, F minor (T. 210 - 217)
III cadence ("major cadence") (T. 218 - 238 )
After a retarding moment ( ritardando up to the Adagio ) the movement closes with a highly dramatic " Stretta (Più Allegro):
IV Review of Theme 2, F minor (T. 239 - 248) with an increase to fortissimo
V cadence (T. 249 - 256) with full-grip chords, alternately distributed between both hands
VI finale (diminuendo to ppp): review of theme 1 (bar 257 to the end)

Audio sample

Speaker Icon.svg Appassionata 1st movement   

Second sentence

The second movement (D flat major) is a set of variations with a chorale-like theme that Friedrich Silcher used as the basis for his popular vocal arrangement, Hymne to the Night .

Musicology agrees that his theme is made up of two eight-bar elements. Jürgen Uhde , Richard Rosenberg , and Hugo Riemann refer to these as periods , while Carl Pieper interprets it as a two-part song form with an eight-bar front and back . The structure of the two eight-stroke engines themselves is more problematic. While Uhde divides this into 4 + 4 and 2 + 2 + 4, Donald T. Tovey divides the second eight-bar into (3 times 2) +2 bars, and HA Harding into two 4 + 4 bars.

It is noticeable that the melody part uses only four tones in the first eight bars (a-flat and b-flat, later des and c); the theme is enriched by the harmonization and the accompaniment in the bass with single and double dots.

In the four variations, Beethoven uses the rhythmic reduction (quarter-eighth-sixteenth-thirty-second), as is often the case in his variations. The dynamics are steadily increasing. After the last variation, the theme is then repeated. Instead of in D flat major, Beethoven closes the movement with the diminished seventh chord (egb-des), which is immediately repeated one octave higher in fortissimo to lead (attacca) into the finale.

Third sentence

The seventh chord sounds like a fanfare as the introduction to the final movement and prepares for the assault that follows. A sixteenth movement runs like a perpetual motion machine the set and comes only once after a significant escalation in the implementation (as well as the third movement is in sonata form ) to a standstill. The desperate, never-ending race in the sixteenth, particularly on the bass chords at the end of the sentence components, is in the Presto - coda that is started galloping eighths, increased again before the whole movement chord cascades in three short f- Minor chords coincide.

Interpretations

Like many other Beethoven works, the Appassionata has experienced a wide variety of extra-musical interpretations since its creation. Most of them bring the “eruptive passion” and “glamorous, demonic musical effect full of romantic virtuosity” in connection with a real or emotional storm. They refer to a remark by Beethoven on the meaning of Op. 31/2 (piano sonata Der Sturm ) and Op. 57 to his secretary and first biographer Anton Schindler , in which he is said to have said: "Just read Shakespeare's 'Storm' ." However, the relation to Shakespeare's work is controversial. Carl Czerny sees a threatened ship in the sea, and Alfred Cortot and Joseph Pembaur even see parallels between certain parts of the sonata and individual characters from Shakespeare's play. Carl Reinecke , Vincent d'Indy , and Ernst von Elterlein interpret the work psychologically as a “storm of the soul” and connect this with Beethoven's private, unhappy love experiences. Arnold Schering connects the sonata with parts of the drama Macbeth . Paul Badura-Skoda, on the other hand, sees a mood in the “majestic harmonies” of the second movement as in Matthias Claudius' poem Death and the Maiden , while the coda of the third movement reminds him of King Lear's dance on the heath . Adolf Bernhard Marx interprets the work as “outcry of fear” and “storm of the soul”, and Uhde writes:

“Among the so different processes that Beethoven's sonatas have as their content, Op. 57 is 'Tragedy'. Here the story of a great will is written, which wants to change the existing conditions, but the struggle does not lead to liberation. "

Interpretations

Well-known interpretations of the sonata come from such diverse pianists as Arthur Rubinstein , Emil Gilels , Svjatoslav Richter , Alfred Brendel , Maurizio Pollini and Friedrich Gulda . Glenn Gould , who considered the Appassionata to be one of the weakest and most ingenious works of Beethoven, performed an extreme interpretation that was disturbing to the music world . Joachim Kaiser commented: “When you hear how he (Gould) wrecks the Appassionata, you believe him that he thinks it is bad. He plays the first movement in andante tempo, almost twice slower than the others. He takes the trills sometimes quickly, sometimes dripping. You can hear the piece against the grain. In a few years, Gould will be embarrassed about this recording, hopefully. ”Gould himself wrote that he could not understand the reasons for the popularity of the Appassionata. It is neither a formative work in Beethoven's canon nor one of the controversial attempts of the middle period that get away with a combination of “cutting with a good melody”. The Appassionata, like most works of the middle period, is a "study in thematic tenacity"; the topics are primordially compressed and are not worked out continuously and contrapuntally. The performance is disorganized and offers sequencing stereotypes instead of a “great, central storm - that unique amalgam of order and chaos” that is otherwise characteristic of Beethoven's successful performances.

reception

Vladimir Ilyich Lenin said of the sonata: I know nothing more beautiful than the Appassionata and could hear it every day. Wonderful music that is no longer human! I always think with pride: Look, people can create such miracles!

See also

literature

  • Paul Badura-Skoda and Jörg Demus : The piano sonatas by Ludwig van Beethoven. FA Brockhaus, Leipzig 1970, ISBN 3-7653-0118-3 .
  • Patrick Dinslage: Studies on the relationship between harmony, metrics and form in Ludwig van Beethoven's piano sonatas. Katzbichler, 1987, ISBN 3-87397-073-2 .
  • Edwin Fischer : Ludwig van Beethoven's piano sonatas - a companion for students and enthusiasts. Insel-Verlag, Wiesbaden, 1956.
  • Martha Frohlich: Studies in musical genesis and structure - Beethoven's 'Appassionata' sonata. Oxford University Press, 1991, ISBN 0-19-816189-1 .
  • Maximilian Hohenegger: Beethoven's Sonate appassionata op. 57 in the light of various analysis methods. Peter Lang, Frankfurt am Main 1992, ISBN 3-631-44234-3 .
  • Joachim Kaiser : Beethoven's 32 piano sonatas and their interpreters. Fischer Taschenbuch, Frankfurt am Main, 1999, ISBN 3-596-23601-0 .
  • Dietrich Kämper: The piano sonata based on Beethoven. From Schubert to Scriabin. Scientific Book Society, 1987, ISBN 3-534-01794-3 .
  • Siegfried Mauser : Beethoven's piano sonatas. A musical factory guide. CH Beck, 2001, ISBN 3-406-41873-2 .
  • Richard Rosenberg : Ludwig van Beethoven's piano sonatas - studies on form and performance. Volume 2, Urs Graf-Verlag, 1957.
  • Jürgen Uhde : Beethoven's piano sonatas 16-32 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 .
  • Heinrich Schenker : Beethoven - Sonata op. 57. In: Der Tonwille 43-33. 1924.

Web links

Commons : Piano Sonata No. 23 (Beethoven)  - Collection of images, videos and audio files

grades

Individual evidence

  1. ^ A b Siegfried Mauser: Beethoven's piano sonatas , p. 105
  2. ↑ Klaus Wolters: Handbook of piano literature for two hands , p. 277
  3. ↑ Maximilian Hohenegger: Beethoven's Sonata appassionata op 57 in the light of various analysis methods , p. 92
  4. ↑ Note: This three-way division goes back to Beethoven's first biographer, Johann Aloys Schlosser . She was then used by many others, such as B. Franz Liszt , who categorized Beethoven's creative phases with the following words: "l'adolescent, l'homme, le dieu".
  5. ^ Klaus Wolters: Handbook of piano literature for two hands. , Page 272
  6. ^ Siegfried Mauser: Beethoven's Piano Sonatas , page 70 f.
  7. ^ Martin Geck : Ludwig van Beethoven. , Page 103 ff.
  8. ↑ Kurt Honolka: Knaur's history of music - From the beginnings to the classical. , Page 434
  9. ↑ Klaus Wolters: Handbook of piano literature for two hands , p. 277
  10. ^ Siegfried Mauser: Beethoven's Piano Sonatas , page 105
  11. ^ Edwin Fischer: Ludwig van Beethoven's piano sonatas - A companion for students and lovers , p. 91
  12. ^ Siegfried Mauser: Beethoven's Piano Sonatas , page 106
  13. ↑ Dietrich Kämper: The Piano Sonata after Beethoven - From Schubert to Scriabin , page 7
  14. ^ A b Paul Badura-Skoda and Jörg Demus: Beethoven's piano sonatas , page 137
  15. ^ Siegfried Mauser: Beethoven's Piano Sonatas , page 106
  16. ^ Paul Badura-Skoda and Jörg Demus: Beethoven's piano sonatas , page 139
  17. ↑ Clemens Kühn: Form theory of music , page 80
  18. ↑ Maximilian Hohenegger: Beethoven's Sonata appassionata op 57 in the light of various analysis methods , page 28 f.
  19. ^ Paul Badura-Skoda and Jörg Demus: Beethoven's piano sonatas , page 141
  20. ↑ Maximilian Hohenegger: Beethoven's Sonata appassionata op 57 in the light of various analysis methods , page 28 f.
  21. ↑ Erwin Ratz: Introduction to Musical Forms , Pages 155–159
  22. ^ Heinrich Schenker: Beethoven - Sonata op.57
  23. ↑ Maximilian Hohenegger: Beethoven's Sonata appassionata op 57 in the light of various analysis methods , page 24
  24. ^ Paul Badura-Skoda and Jörg Demus: Beethoven's piano sonatas , page 141
  25. ↑ Jürgen Uhde: Beethoven's piano music , page 188 ff.
  26. ↑ Maximilian Hohenegger: Beethoven's Sonata appassionata op. 57 in the light of various analysis methods , pages 30 f. and 40
  27. ^ Klaus Wolters: Handbook of piano literature for two hands , page 278
  28. ^ Siegfried Mauser: Beethoven's Piano Sonatas , page 105
  29. ^ Anton Schindler: Beethoven biography , 1871, edition from 1977, page 478
  30. ^ Carl Czerny: Pianoforte School op 500 , 3rd part, page 60 ff.
  31. ↑ Maximilian Hohenegger: Beethoven's Sonata appassionata op 57 in the light of various analysis methods , page 17
  32. ^ Paul Badura-Skoda and Jörg Demus: Beethoven's piano sonatas , pages 144 and 146 f.
  33. ↑ Quoted from Siegfried Mauser: Beethoven's Piano Sonatas , page 106
  34. ↑ Jürgen Uhde: Beethoven's piano music , Volume 3, page 191.
  35. ↑ Note after Michael Stegemann: Glenn Gould - Leben und Werk , Piper GmbH, Munich, 1992, page 261: In the record text of the recording of the Appassionata from 1970, Gould admitted that he detested the work and placed it in his personal scale between the Overture to King Stephen op. 117 and Wellington's victory .
  36. ↑ Joachim Kaiser: Great Pianists in Our Time, Glenn Gould and Friedrich Gulda.
  37. ^ Glenn Gould: Writings on Music 1, from Bach to Boulez, Beethoven's Pathétique, Moonlight Sonata and Appassionata
  38. ^ Paul Dessau: Notes on notes . Ed .: Fritz Hennenberg. 1st edition. tape 571 . Reclam's Universal Library, 1974, p. 98 .