Piano Sonata No. 25 (Beethoven)

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Ludwig van Beethoven's Sonata No. 25 in G major, Op. 79 , was written in 1809. It is the only work in the collection that Beethoven himself described as a “Sonatina” . The performance lasts about 10 minutes.

construction

  • First movement: Presto alla tedesca , G major, 3/4 time, 201 bars
  • Second movement: Andante , G minor, 9/8 time, 34 measures
  • Third movement: Vivace , G major, 2/4 time, 117 bars

First sentence

An almost uninterrupted eighth note movement characterizes this “German” sentence in presto, which is nevertheless longer than the two following combined. The first theme begins with four eighth octaves, which represent the chord of the basic key, and ends with moving eighth notes of the right hand. A short transition leads chordally from D major, B minor and a dominant seventh chord to the second theme (beginning of bar 24), simple double stops of the right hand stand against ascending and descending eighth notes on the left. With the first interruption of the eighth note movement in bar 45, the exposition draws to a close.

The development (bars 52 to 122) initially leads back to the first theme, but this time in E major instead of G major. Characterized by the translation of the left hand, this section reaches a wide variety of harmonic areas, namely E major from bar 59, C major from bar 67, C minor from bar 83, E flat major from bar 91 and D major from bar 111. Finally, D major, as the dominant of the basic key, passes into the recapitulation in a crescendo.

In comparison to the exposition, there are a few small harmonic changes (bars 134 to 144) in order to allow the movement to end in the basic key of G major. The recapitulation and coda lead the movement to the end in continuous motion; Beethoven prescribes leggiermente dolce for the last 11 bars of the movement .

Second sentence

The movement consists of three parts: a simple melody with chords in the right hand and accompanied by simple eighth notes in the left is repeated unchanged after a slightly more agitated (sixteenth note in the left hand) E flat major middle section (bars 10 to 20). In the coda (from bar 30) the melody, now performed in octaves in the right hand, is combined with a sixteenth-note accompaniment borrowed from the middle section, the movement ends in quiet two-handed piano chords.

Third sentence

The movement is almost exclusively determined by a short, rhythmically concise motif: an eighth note is followed by the upper secondary note and then the starting note as the sixteenth note. This predominance is only interrupted by a short C major section (bars 51 to 66), which consists exclusively of scales and - in the right hand - broken chords. While the theme is initially accompanied by quarter notes, the left hand plays eighth triplets on its second use from bar 35. From bar 72 there are sixteenth notes that accompany the theme, and from bar 80 the melody is varied with triplet octave jumps.

literature

Web links

Individual evidence

  1. ^ Mauser: Beethoven's piano sonatas . 2008, p. 113.