Piano Sonata No. 32 (Beethoven)

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The first edition

The Piano Sonata No. 32 in C minor, Op. 111 is Beethoven's last piano sonata .

Like the two Easy Sonatas op. 49, op. 53 , op. 54 , op. 78 and op. 90 , it has only two movements . They last around 10 minutes for the first and almost 20 minutes for the second movement.

History of origin

First page

Beethoven's last three piano sonatas, Op. 109 , Op. 110 and Op. 111, were planned as a large complex and so all three were sold together to the Berlin publisher Adolph Martin Schlesinger in 1820. However, there were delays between the E major sonata and the last two - Beethoven was plagued by illnesses, and he was also occupied with working on the Missa solemnis and the Bagatella cycle op.119.

At the end of 1821 Beethoven began work on the Sonata in C minor (No. 32). The theme of the Sonata have Beethoven as so often employed for decades, some should have found already in 1801 entrance into other works. The first manuscript was written on January 13, 1822 - less than three weeks after the completion of the A flat major sonata . In the spring of the same year Beethoven sent the first version to Berlin, but soon afterwards he wanted to make changes and there were delays. It was not until April 1822 that Maurice Schlesinger, the son of Adolph Martin Schlesinger, published the sonata in Paris, but with so many errors that Beethoven asked Anton Diabelli to bring out a corrected edition.

dedication

The dedication story is also a bit confused. On May 1, 1822, Beethoven wrote to his publisher Adolph Martin Schlesinger that he was free to “dedicate the sonata to someone to whom you want”. On August 1, 1822, he named Archduke Rudolph of Austria as the dedicatee. In a letter that he wrote to Schlesinger's son Maurice Schlesinger in Paris on February 18, 1823 , it then stated that the work should be dedicated to Antonie Brentano . He expressed the same wish in February 1823 in a letter to his former student Ferdinand Ries in London . Since this instruction apparently came too late, only the English edition, which Muzio Clementi's publishing house printed in April 1823, appeared with a dedication “to Madame Antonia de [!] Brentano”.

construction

First sentence

Beginning of the introduction

Maestoso - Allegro con brio ed appassionato (C minor, 4/4 time)

The first movement begins with a Maestoso introduction, which is harmonically ambiguous and is a dramatic introduction to the main movement. In double- dotted , diminished seventh chord jumps, the tonic in C minor is actually not reached except for a short time in bar 2. After the beginning of the forte , the dotted rhythms split into a chromatic pianissimo passage before they dissolve into eighth notes over a crescendo . Almost dissonant , these eighth notes now lead to a trill on the lowest G in pianissimo, on which the first movement changes to the Allegro and ends in the main theme .

The main theme

This theme now determines the sonata movement , which is characterized by changes in the dynamics , but also in the movement itself. The quietly fading adagio passages are suddenly followed by fortissimis, which in turn die off again. Beethoven uses the most varied, but as so often in his late work mainly polyphonic compositional techniques in which the theme is repeatedly processed.

The descending eighth notes of the first theme are transformed into, for example, an eleven-bar unison of sixteenth notes, before the beginning sounds again, accompanied by eighth notes. Beethoven repeatedly slows down the pace in ritenente and adagio passages. The transition to the second theme is consistently contrapuntal and modulated in A flat major , the first theme is still included here several times. The second theme, which sounds fortissimo from halves distributed over large rooms, can also be recognized as a variant of the first, in particular the descending but now dotted melody that sounds before the renewed ritardando. The final part of the exposition is also shaped by the first theme, now slightly different.

In the implementation (now G minor ) is added polyphonic confrontation again, the theme is heard only in octaves (in the form of trailer of exposure), among others trill accompaniment, finally even in chord shape.

The recapitulation starts again on the tonic and intensifies and extends the passages between the themes in particular. The differences between exposition and recapitulation are sometimes quite significant.

After the recapitulation ends on runs in unison, the rather short coda begins with a diminuendo of half-strings. This is followed by a completely new thought in the right hand, accompanied by sixteenths, which finally fades away in C major in pianissimo.

Second sentence

Adagio molto semplice e cantabile (C major, [first] 9 / 16 ¯ clock)

But it is the Adagio, this huge (20-minute-long) set of variations on the Arietta at the beginning, which is the real secret of this sonata . This movement is considered by many pianists to be one of the most sublime moments in the entire repertoire .

The variations of op. 111 are structurally based on the model of the variations of op. 109. The third movement of op. 109 is realized by taking up the theme in rhythmic abbreviations and a climax of long trills. However, in op. 111, when the rhythm is accelerated, the basic tempo is mostly retained. The development seems to be more organic than op. 109, and "to develop from within through a rigorously controlled process." The entire movement can thus be understood as a "rhythmic increase in variations".

Simplifying structure and characterization of the second movement of op.111

A rough structure can summarize the Arietta theme up to Variation 2 as an increasingly increasing line of development. Variation 3 represents a climax and a simultaneous change in character. The first three variations are based on this structure and also maintain the 2-to-1 rhythm of the Arietta. As is so often the case with Beethoven, these variations are characterized by the constantly shortening rhythm, whereby the composer uses extremely unusual time divisions (from 9/16 time in the Arietta to 12/32 time in the third variation). Variation 4 with its pianissimi, tremolos and arabesques can be seen as an essential incision, turning point and resting point. According to William Kinderman, these create "... an ethereal atmosphere, as if the music had entered a transfigured realm." Variation 5 and the subsequent coda then realize an increasing process of dissolving into pure sound, which is characterized by wide-ranging registers, elongated, sometimes multiple trills, and a further shortening of the note values ​​is effected. Despite these "processes of dissolution", the original Arietta theme is not forgotten and taken up again in the upper part.

theme

The beginning of the Arietta

The theme consists of two 8 bars, both parts are repeated, the first is in C major and is commonly seen as the peaceful, contemplative one, while the second is partly in A minor , which does not build up the tension of the first movement , but there is a contrast. In the first three bars Beethoven extends the melodic, falling interval C – G of the lower fourth successively to the lower quint D – G , and finally to the ascending sixth G – E. The frequently occurring tone G - as in the other variations - plays a key role. Beethoven puts the express climax on bars 5 and 6, where the top note G2 coincides with the lowest bass note D and is additionally reinforced by a crescendo. The part in A minor is designed similarly. How much Beethoven experimented with the design of the climax of the Arietta theme is shown by his numerous sketchy designs in Artaria 201 and Ms 51

Variation 1

Beginning of Variation I (the original theme is marked in red)

This one has a somewhat livelier, but still calm character. The note values ​​are reduced to alternating eighths and sixteenths over sixteenth notes in the left hand. The ties and syncopation rhythms, which are increasingly used in the following variations, are already indicated in this variation in the left hand. The original theme is clearly recognizable in the different intervals of the right hand (sixth, fourth, second, octave, etc.). From bar 20 the sound becomes denser with two and three chords. As in the theme, the G2 (bars 21 and 22) with a simultaneous crescendo functions as the top note.

Variation 2

The model of alternating eighth - sixteenth - eighth - etc. is continued in Variation 2 with a shortening of the note values. However, in halved values, i.e. 16th - 32nd - 16th - etc., but in both hands. As in the following variations, Beethoven already prepares essential elements of a variation in the preceding variation and thus conveys the listening experience of a rather stepless progression from variation to variation. At the beginning (bars 1–6), left and right hands toss the eight-note phrase to each other in a kind of question-and-answer game. After that, the left and right hands increasingly disconnect from each other. Again, the brief emphasis on tone G2 can be observed in bars 6 and 7 and in bars 15-17. The second half of the variation then shows an intensification of the tonal density through two-part and octave fingerings in the left hand and triads in the right hand. The appearance of a higher peak note D3 in bars 13 and 14 also has an increasing effect .

Variation 3

This stands out in its "great excitement and complexity of Rhythm" and the 12 / 32 -Stroke, from the previous variations from. Nevertheless, by further halving the principle 16th - 32nd - 16th - etc. to 32nd, 64th - 32nd - etc. there is a connection to Variation 2. The first three bars are characterized by triad breaks (arpeggios) in the forte that fall rapidly downwards and run upwards and connect with chords of the right hand. From bar 6, this model then changes into rhythmically synchronized triad figures of both hands in increasingly distant registers, a process that intensifies the following variations.

The change between the 32nd and 64th of one hand and the tied syncope of the other hand is not unjustifiably reminiscent - as Igor Stravinsky said - of a (at that time not yet existing) boogie-woogie or ragtime . At first glance, the rhythms are comparable, but the intensification performed by Beethoven is usually associated with a very exuberant dance .

The second part of Variation 3 continues this rhythm, but again stands out clearly from the first part through the abrupt change between forte and piano, sequencing runs of the right hand and full-grip chords on both hands.

Variation 4

From the 4th variation (measure 65) to the end, a 9/16 measure is given. As a result of the 32nd note triplets that predominate almost throughout (except in bars 106 to 128), the bar is actually divided into 27 parts from here until the end of the movement.

In terms of character and listening experience, Variation 4 forms the clearest dividing line between theme and Variations 1 and 2, as well as Variation 5 and the coda. The dynamic has been reduced to pianissimo. The accompaniment of the left hand is mostly limited to soft tremolos, repetitions of notes, or isolated simple chords. The right hand usually offers long sustained three and four notes.

From bar 9 (72/73) both hands lapse into 32nd triplet runs, which are often chromatically spiraling upwards, which, due to their high register, form a clear “detached” contrast to the sometimes striking bass figures of the previous variations. The melody and the distinctive rhythm of Variation 3 is increasingly resolved into a pure, impressionistic sound. The syncopating models from Variation 3 are nonetheless partially continued - albeit with a completely different effect. The registers of the two hands are driven further and further away.

A three-bar cadence then leads into a transition to Variation 5, characterized by trills.

This dissolution of the clear melodies in favor of the pure sound finds its temporary, also dramatic climax on an apparently infinite trill (even three-part!) In the intermediate part between the 4th and 5th variation, in which there is modulation in E flat major.

Then the upper part of the theme again in its original form, again with triplets in the accompaniment and an additional part under the melody.

Finally, Beethoven brings up the theme again in a kind of coda , but this time played over a steady 11 bar trill in the right hand before the variation ends pianissimo after a quick but peaceful passage on simple C major chords.

Variation 5

After this, in the 5th variation, the dissolution of the original rhythm begins in favor of free flowing 32nd note triplet tremolos , above which the varied theme appears in chords, first in the bass , then in the treble . The theme appears rhythmically shifted here, but the syncope character disappears very quickly above the triplets and the theme “floats”. Beethoven now also changes the form and varies the two parts instead of repeating them.

Interpretations

Musicologists, artists and philosophers have repeatedly dealt with Beethoven's last piano sonata.

  • Jürgen Uhde sees in the last sonata, especially in the second movement, a document of parting, a testament, a profound music of the spheres that touches the hereafter. “Does the world spirit, without the knowledge of the producing subject, actually form eschatological music here ...?” The first and second movements belonged to different realms; let the lower region of the first be separated from the higher of the second. If one can recognize in the first the “will” that seeks to achieve its goal in an ultimately undecided battle, the second sentence may describe “grace”. In the hymn of Arietta, which “swings into ever higher spheres”, the fight becomes unimportant.
  • Walter Riezler speaks of an empire with no way out. The second sentence points "directly into infinity ... From the fourth variation on ... it is decided that there is no turning back here ... that is the final spiritualization, dissolution in space."
  • Thomas Mann's humorous and profound examination of this work in “ Doctor Faustus ” has gone down in literary history. Adrian Leverkühn's music teacher, Wendell Kretzschmar, plays this work and explains the background of the sonata to the audience in an enthusiastic lecture that is interrupted by stuttering. "... Well, the man was able to devote an entire hour to the question," Why Beethoven did not write a third movement for the Piano Sonata op. 111 "- an item worth discussing without question ... However, we just got to know her through this event, and indeed very precisely, since Kretzschmar heard them excellently on the rather inferior pianino that was available to him (a grand piano had not been granted), albeit with a shuddering sound, but in between their emotional content, with a description of the living conditions under which it - along with two others - was written, analyzed with great urgency and, with a caustic joke, went about the master's own explanation why he had dispensed with a third, corresponding sentence here. He had answered the Famulus to his question that he had no time and therefore preferred to extend the second a little longer ... The disregard of the questioner in such an answer was apparently not noticed ... "
  • Theodor Adorno , who had advised Thomas Mann on the novel on music theory and is regarded as a (caricaturally distorted) model for the figure of Kretzschmar, spoke in connection with this sonata in the aesthetic theory of "Eros and Knowledge". In Doctor Faustus, the lyrical Arietta theme of the second movement is
    {\ time 9/16 \ partial 4 \ stemUp d''8. ^ (g'16) g'4. }
    , paraphrased with the idyllic association “Wiesengrund”, alluding to Adorno's birth name. However, according to Fr. Benary, he basically misunderstands the topic, because it is not dactylic but anapaestic , like "harmony" to chant.
  • Alfred Brendel writes that the sonata works in two ways: “As the final acknowledgment of his sonatas and as a prelude to silence. One thinks of Bülow's attempts to interpret 'samsara and nirvana', of 'resistance and surrender' or of the 'male and female principle' that Beethoven himself liked to talk about. "
  • Edwin Fischer : "In these two sentences we find this world and the hereafter symbolized."

Autograph and sketches

The autograph of the first movement is in the Beethoven-Haus in Bonn (BH 71), that of the second movement has been lost. Beethoven's sketches for op. 111 are in the Berlin State Library of the Prussian Cultural Heritage Foundation (Artaria 180, 197 and 201), the Bibliothèque nationale de France in Paris (Ms 51), and the Gesellschaft der Musikfreunde in Vienna (A 48).

See also

Sound samples

literature

Web links

Individual evidence

  1. ↑ Ludwig van Beethoven, Letters. Complete edition , ed. by Sieghard Brandenburg , Volume 4, Munich 1996, p. 479
  2. ↑ Ibid., P. 525
  3. ↑ Ludwig van Beethoven, Letters. Complete edition , ed. by Sieghard Brandenburg, Volume 5, Munich 1996, p. 48
  4. ↑ Ibid., P. 71.
  5. ↑ Carl Dahlhaus, p. 179
  6. ^ Heinrich Schenker : The last sonatas by Beethoven. Critical edition with introduction and explanation . P. 53
  7. ^ William Kindermann: Piano Sonata in C minor, Op. 111 . In: CA Dahlhaus , A. Riethmüller , AL Ringer (ed.): Beethoven - interpretations of his works . Laaber, 1994, p. 180
  8. ↑ Udo Zilkens: Beethoven's finals in the piano sonatas . Pp. 234 and 235
  9. ↑ a b Jürgen Uhde : Beethoven's Piano Music III, Sonatas 16-32, op.111, C minor .
  10. ^ Walter Riezler: Beethoven, The last style .
  11. ↑ Thomas Mann: Doctor Faustus . Edited by Peter de Mendelssohn. Collected works, Frankfurt edition 1980, chap. VIII, p. 72
  12. ↑ Thomas Mann: The Origin of Doctor Faustus
  13. ↑ Thomas Schneider. The literary portrait, sources, role models and models in Thomas Mann's “Doctor Faustus” .
  14. ^ P. Benary: Metrics and Rhythm . Gerig publishing house
  15. ^ Alfred Brendel: Reflecting on Music . 1982, p. 85
  16. ^ Edwin Fischer Ludwig van Beethoven's piano sonatas . Wiesbaden 1956, p. 134
  17. ↑ Audios of both movements (Wilhelm Kempf!) In the digital archive of the Beethoven House in Bonn
  18. ^ William Kindermann: Piano Sonata in C minor, Op. 111 . In: CA Dahlhaus, A. Riethmüller, AL Ringer (ed.): Beethoven - interpretations of his works . Laaber, 1994, p. 175