What is the difference between the words: confession and monologue?

A monologue can be on any topic, confession is very personal, it is the state of mind of an individual.

Today we will listen to the music of L. Beethoven, about which the French writer R. Roldan said: "This is a monologue without words, a true, amazing confession, similar to which can be found in music ... there is not a single word here, but this music is understandable to everyone" .

Sounds like I part Analysis.

Melody - basses - triplets.

Man - Man's grief - the world around.

How are these three components developed?

Tenderness, sadness, meditation. Measured, rocking movement of the middle voice. Then comes the pleading melody, a slight upward movement. “Is it with me? - the man thinks. She passionately, persistently tries to reach the bright registers, but gradually the melody goes to the bass. Man dissolved in grief, went into it completely, and nature remained unchanged. Merged with misfortune. The last chords are like a heavy plate covering a person.

Sounds P part

What image does this melody evoke?

This is an island of small happiness. B. Aget called her "a flower between two abysses."

What is this lyrical part?

Some consider Juliet Guichardi to be a musical portrait, while others refrain from figurative explanations of the enigmatic part. Intonations can be interpreted from unpretentious grace to noticeable humor. The person probably performed something long past, beloved, a corner of nature, a holiday, G. Neuhaus said that it was "A flower with drooping leaves."

Sounds part III

What associations have emerged?

Sounds like a storm sweeping away everything in its path. Four waves of sounds rolling with great pressure. Each wave ends with two sharp blows - the elements are raging. But here comes the second theme. Her upper voice is wide, melodious: complains, protests. The state of extreme excitement is preserved thanks to the accompaniment - in the same movement as during the stormy beginning of the 3rd movement. Sometimes it seems that complete exhaustion sets in, but the person rises again to overcome suffering.

This is the main part of the sonata and the natural conclusion of its dramatic events. Everything here is like in the lives of many people, for whom to live means to fight, to overcome suffering.

"Pathetic Sonata" No. 8

The sonata was written by L. Beethoven in 1798. The title belongs to the composer himself. From the Greek word "pathos" - with an elevated, elevated mood. This name refers to all three parts of the sonata, although this "elevation" is expressed in each part in different ways.

I part written in a fast tempo in sonata allegro form. Unusually the beginning of the sonata "The slow introduction sounds gloomy and at the same time solemn. Heavy chords, from the lower register the sound avalanche gradually moves upwards. Formidable questions sound more and more insistent. They are answered by a gentle, melodious melody with a touch of prayer against the background of calm chords.

After the introduction, a swift sonata allegro begins.

Main party reminiscent of surging waves. Against the background of a restless bass, the melody of the upper voice anxiously runs up and down.

Linking party gradually calms the excitement of the main theme, and leads to a melodic and melodious side party.

Contrary to the established rules in the sonatas of the Viennese classics, the side part of the "Pathétique Sonata" sounds not in the parallel major, but in the minor of the same name.

Control questions and tasks for students

1. In what year was L, Beethoven born?

A). 1670,

B). 1870

AT). 1770.

2. Where was Beethoven born?

BUT). in Bonn,

B). In Paris,

AT). In Bergen.

3. Who was Beethoven's teacher?

BUT). Gendel G.F.

B). Nefe K. G.

AT). Mozart W.

4. At what age did Beethoven write the Moonlight Sonata?

BUT). At 50.

B). At 41.

AT). At 21.

5 . Just right for what woman did Beethoven write Moonlight Sonata?

BUT). Juliet Guichardi.

B) Juliet Capulet. AT). Josephine Dame.

6. Which poet gave the name to the sonata No. 14 "Lunar"?

A) and Schiller.

B). L. Relshtab.

AT). I. Shenk.

7. Which work does not belong to the work of Beethoven?

BUT). "Pathetic Sonata".

B). "Heroic Symphony".

AT),."Revolutionary Etude".

8. How many symphonies did Beethoven write?

Exercise 1.

Listen to two works, determine by style which of them is L. Beethoven, explain your opinion.

Sounds: “Prelude No. 7” by F. Chopin and “Sonata” No. 14, 3rd part of L. Beethoven.

Symphony

Symphony (from the Greek συμφωνία - “consonance”) - a genre of symphonic instrumental music of a many-part form of fundamental worldview content.

Due to the similarity in structure with sonata, sonata and symphony are united under the general title " sonata-symphony cycle ". In a classical symphony (in the form in which it is presented in the works of the Viennese classics - Haydn, Mozart and Beethoven) there are usually four parts.

the 1st part, at a fast pace, is written in sonata form;

2nd, in slow motion, is written in the form of variations, rondo, rondo sonata, complex three-part

3rd - scherzo or minuet - in three-part form

4th movement, at a fast pace - in sonata form, in the form of a rondo or a rondo sonata.

A program symphony is one that is associated with a known content set forth in the program and expressed, for example, in the title or epigraph - Beethoven's Pastoral Symphony, Berlioz's Fantastic Symphony, Tchaikovsky's symphony No. 1 "Winter Dreams", etc.

Tasks for students

Listening and analysis of fragments from symphonies by program Kritskaya E. D. "Music".

In Mozart Symphony No. 40, exposition.

1. Sing the main melody of solfeggio, vocalization, to a text invented by yourself.

2. Listen and draw the melodic line of the main theme.

3. In the process of listening, draw an artistic image that has arisen.

4. Compose a rhythmic score for DMI.

5. Learn the proposed rhythmic movements and compose rhythmic improvisations.

A. P. Borodin Symphony No. 2 "Bogatyrskaya"

1. The main theme: sing, play the metallophones, the piano.

2. Compare the musical image with the artistic one - A. Vasnetsov "Heroes".

P. Tchaikovsky symphony No. 4 final

1. Sing the main theme with pauses to the words of the song "There was a birch in the field."

2. Perform rhythmic accompaniment on noise musical instruments.

In the shadow of the stunning Largo e mesto, this Minuet has remained, perhaps, somewhat underestimated. It has not attracted much attention from researchers and is not usually seen as a clear manifestation of the style and genius of its creator.

Meanwhile, Beethoven's logic of the struggle of contrasting principles found a peculiar and subtle embodiment in the Minuet. In addition, it anticipates the features of the melody of subsequent composers - Schumann, Chopin. This, of course, does not make Beethoven's style close to romanticism: the difference between artistic concepts and world outlook remains in force. But such anticipations constitute an essential side of Beethoven's work and once again testify to his striving for the future, about its significance for further development art.

The minuet in question is of a light lyrical nature and is called "dear" by Anton Rubinstein. The main character of the piece is contrasted by some more active, dynamic elements, to a certain extent akin to the scherzo genre. And it is in how the functions of various genre and stylistic components are distributed throughout the whole work, how the dance melodics of the classical minuet anticipate mature romantic lyrics, and how this lyrics is combined with the scherzo element, is the main artistic discovery of the play. Its discovery and explanation is one of the tasks of the etude.
Another task is to demonstrate different aspects of the analytical method outlined in the previous parts of the book.
Within the framework of the three-part da capo form, the melodic extreme sections of the Minuet are opposed by the middle (trio) - more active, with sharply accentuated motives. It is inferior to the extreme in size and plays the role of a shading contrast. The extreme sections, in turn, are also three-part, and they reproduce - on a correspondingly smaller scale and with less sharpness of contrast - a similar relationship: the initial period and the reprise set out and develop a dance-lyrical melody, while the imitation middle is more mobile and approaches in character to such an episode, which could be found in the scherzo.
Finally, the dynamic element also penetrates into the main lyrical theme. This is just one syncopated "a" sound in the left hand part, taken by the sforzando in an ascending octave jump (see bar 7):
This moment may seem like just a detail, a separate private touch, designed to add some piquancy to musical thought, to increase its interest. However, from the further course of the play, the true meaning of this detail becomes clear. Indeed, the impetus for the imitative middle of the first section is a similar ascending octave step in the bass with an accent (sf) on the second sound:
In the recapitulation (within the first section), the bass octave progression and the syncopated effect of the seventh bar of the theme are amplified:
Finally, the trio also begins with a two-tone rising forte motif in the bass - albeit in fourths, but then gradually expanded to octaves:
With octave intonations fortissimo, and, moreover, on the sound "a", the trio ends.
It becomes clear that the syncopation of bars 7-8 really serves as an expression of a contrasting (relatively speaking, scherzo) beginning, drawn with great consistency throughout the entire piece. It is also obvious that the juxtaposition of the melodious-lyrical and scherzo elements (on the basis of the danceability that unites them) is given at three different scale levels: within the main theme, then within the framework of the simple three-part form of the first section, and finally, within the complex three-part form of the minuet (this is one from the expressions of the already familiar principle of multiple and concentrated effects).
Now let's pay attention to the first sound of the melody - again the syncopated "a". But this syncopation is not of a dynamic nature, but of a lyrical one. Such syncopations and their frequent use by Chopin (let us recall at least the Waltz in h-moll) have already been discussed in the section “On the relationship between the content and means of music”. Apparently, the initial lyrical syncopation of Beethoven's Minuet is one of the earliest, most striking examples of this kind.
The play therefore contains syncopations of two different types. As mentioned in the "Principle of Combination of Functions" section, different functions of the same medium are combined at a distance, and as a result, a play with the possibilities of syncopation arises, which gives a great artistic effect: the syncopated "a" of bar 7 simultaneously resembles the initial "a", and noticeably differs from it in its unexpectedness and sharpness. In the next measure (8) - again a lyrical syncopation, beginning the second sentence. The juxtaposition of the scherzo and lyrical principles is thus also manifested in the described correlation of the two types of syncopations.
It is not difficult to distinguish between them: scherzo syncopations are given sforzando in a bass voice and precede even (in this case, light) measures (measure 8 in ex. 68, measure 32 in ex. 70); lyrical ones do not have a sforzando shade, sound in melody and precede odd (heavy) measures (bars 1, 9 and 13 in example 68, measure 33 in example 70). At the climax of the play, as we shall see, these two types of syncopation merge.
And now consider the opening turn of the Minuet. It concentrates the intonations that became characteristic of lyrical melodics in the 19th century: after the syncopation, there is a typical sixth leap from the fifth to the third degree, followed by a smooth decline and singing of the tonic d, including a delay to the introductory tone. All this - with a relatively even rhythmic movement, legato, piano, dolce. Each of the listed means separately can, of course, be found in a wide variety of genre and stylistic conditions, but all of them - hardly. In addition, the role of turnover in the work, its fate in it, is important. Here this role is very significant, the motive is repeatedly repeated, affirmed, strengthened.
For the further development of the piece, it is essential, in particular, the alternation of legato and staccato in the second intonations of bars 5-6 (and at similar moments). This main meaningful opposition in the field of strokes also serves here as a combination of the two main expressive principles of the play. The staccato adds a touch of poignancy that sets the stage for the syncopation of the seventh bar. The latter nevertheless sounds unexpected, violates the inertia of perception.
Above, we discussed the meaning of this syncopation in the concept of the Minuet. But the meaningful function of syncopation is combined here (this time in simultaneity) with the communicative one. After all, it is in the usual cadence, perceived inertly due to the familiarity of its form and, moreover, signifying a drop in tension, that there is often a danger of a drop in the listener's interest as well. And the syncopation, breaking the inertia, supports this interest at the most necessary moment.
It is noteworthy that in the second sentence, constructed in general similar to the first, there is no such syncopation (on the contrary, another lyrical syncopation appears. This makes the full cadence of the period stable in rhythmic terms. However, the absence of an acute syncopation also violates the inertia of perception, since it ( syncopation) is already expected by analogy with the previous construction.As already mentioned in the section on the inertia of perception, in such cases, the disappeared, repressed (when a section is repeated) element still appears in the future, that is, the artist somehow returns his "duty "to the perceiver. Here it happens immediately after the end (and repetition) of the period: the initial intonation of the middle - the mentioned octave move in the bass with an emphasis on the second sound - is only new form the overridden element. Its appearance is perceived as welcome, falls on prepared ground, captures favorable metrical-syntactic positions (strong beat of the first measure of the new construction) and therefore is capable of serving as an impulse, the action of which extends to the entire middle.
This lively middle causes, in contrast, the strengthening of the lyrics: in the first sentence of the reprise, the melody begins against the background of a trill of the upper voice, unfolds more continuously, includes a chromatic intonation (a - ais - h). The texture and harmony are enriched (deviation into the tonality of the second stage). But all this, in turn, entails a more active manifestation of the dynamic element.
The climax, turning point and a kind of denouement come in the second sentence of the reprise.
The sentence is expanded by ascending sequencing of the main lyrical motif. The climactic d is, in essence, the same lyrical syncopation that began both the whole play and this sentence. But here the syncopated sound of the melody is taken sforzando and preceded by an even (light) measure, which was still characteristic of syncopated scherzos. In addition, on the downbeat of the next measure, a dissonant altered chord sounds, also taken by sforzando (here is a syncopation of a higher order: the chord falls on a light measure). However, these manifestations of the scherzo element, coinciding with the climax of the lyrical growth, are already subordinate to it: the chord with expressive semitone inclinations of the augmented sixth supports and enhances the climax. And it represents not only a melodic peak, but also a turning point in the figurative development of the main section of the Minuet (up to trio). There is a combination in simultaneity of two types of syncopation, which expresses the fusion of scherzo and lyrical principles, and the first is subordinate to the second, as if dissolving in it. The climax here could be likened to the last attempt at a playful frown, which immediately turns into a smile.
Such is the consistently carried out witty figurative dramaturgy of the main section. Naturally, the lyricism, which asserted itself in the struggle, resulted in a broad melodic wave (the second sentence of the reprise), especially clearly reminiscent of the lyrical plays of the romantics. Sequential expansion of the reprise is quite common for the Viennese classics, but the conquest in its second sentence of a bright melodic peak, harmonized by an altered chord and serving as the culmination of the whole form, became typical only for subsequent composers. In the very structure of the wave, there is again a correspondence between a smaller and a larger structure: the sequenced initial motive is not only a jump with filling, but at the same time a small wave of rise and fall. In turn, a large wave is also a jump with filling (in the broad sense): in its first half - during the rise - there are jumps, in the second - no. Perhaps, most likely this wave, in particular the climax and scale-like decline with chromatism in melody and harmony (with the smooth movement of all voices), is reminiscent of Schumann's lyrics.
Some other details are also characteristic of post-Beethoven's lyrics. So, the reprise ends with an imperfect cadence: the melody freezes on a fifth tone. Similarly, the addition that follows the reprise, which has the character of a dialogue, ends in a similar way (this addition also somewhat anticipates Schumann's music).
This time, even the dominant preceding the last tonic is given not in the main form, but in the form of a third quarter chord - for the sake of unity with the harmonic structure of the entire addition and the main motive of the Minuet. Such an ending to the play is an extremely unusual case for the Viennese classics. In the works of subsequent composers, imperfect final cadences are often found.
It has already been said above that the “farewell roll call” of registers, motifs, timbres is often found in codes and additions. But, perhaps, such final comparisons in lyrical music are especially impressive. In the case under consideration, the farewell dialogue is combined with the deepening of the lyrics, with its new look (as is known, in Beethoven's codes, the new quality of the image has become quite a characteristic phenomenon). The initial motive of the Minuet not only sounds in a new way in the low register, but is also changed melodically: the retention d - cis is now stretched out, becoming more melodious 1 . A metrical transformation also took place: the measure on which the dominant terzquartaccord fell at the beginning of the Minuet (with the retention of d in the melody) was light (second), here it became heavy (third). The measure, which contained the melodic turn a-fis-e, was, on the contrary, heavy (the first), and now it has turned into a light one (the second). a) on which it is built. The very separation of two motifs from an integral melodic line and their comparison in different voices and registers can make them more weighty, present them as if in an increase (not rhythmic, but psychological). Recall that the decomposition of a certain unity into constituent elements for a more complete perception of each of them, and then the whole, is an important technique not only for scientific, but also for artistic knowledge (this was already discussed in the section “On Artistic Discovery” when analyzing Chopin’s Barcarolle) .
However, in art, the subsequent synthesis is sometimes left to the perception of the listener (viewer, reader). This is what happens in this case: the addition, it would seem, only decomposes the theme into elements, without recreating it again; but the listener remembers it and perceives - after an addition that deepens the expressiveness of its elements - the whole lyrical image is more complete and voluminous.
The subtle touch of the addition is the alternation of the natural and harmonic VI steps in the melody. This technique, used by Beethoven in the final constructions and later compositions (for example, in the final party of the first movement of the Ninth Symphony, see bars 40-31 from the end of the exposition), was widely used in the work of subsequent composers of the 19th century. The singing itself in the addition of the 5th degree of the mode with two chromatic auxiliary sounds b and gis might seem insufficiently prepared under the conditions of the diatonic melody of the Minuet, if the chromatic intonations had not flickered in the melody earlier. Apparently, however, more important in this respect is the climactic harmony, which contains the sounds b and gis, gravitating toward a. In turn, this harmony - the only altered and unusual-sounding chord in the whole piece - perhaps receives some additional justification in the mentioned intonations a - b - a - gis - a. In a word, the culminating harmony and the pacifying semitone chanting of the 5th degree of the mode in the addition probably form a kind of pair representing
“a peculiar manifestation of the principle of pairing of unusual means, described in the last section of the previous part of the book.
We will consider the theme of the trio more briefly. It stands, as it were, in reverse relation to the thematic nature of the extreme parts. What is there in the background and has the character of a contrasting element, overcome in the process of development, comes to the fore in a trio (active ascending motifs of two sounds). And vice versa, the subordinate (contrasting) motive within the trio, also overcome and forced out at the end of this section, is the two-bar piano, the melodic-rhythmic figure of which resembles the turnover of bars 2-3 of the main theme of the Minuet, and the sound in the low register echoes the similar sound of the initial motive main theme in the immediately preceding appendix.
Behind this simple relation lies, however, a more complex one. It would seem that the theme of the trio is close to the themes of contrasting main parts, typical of Mozart's first allegroes. But, besides the fact that both elements of contrast are given against the background of the same triplet accompaniment, their ratio acquires a slightly different meaning. The second element, although it includes a delay, ends with an affirmative (iambic) intonation of a descending fifth, the first sound of which is also taken staccato. Invariably responding in a low register (unusual for the second elements of contrasting themes) to short active motifs thrown from the bass to the upper voice, the quiet and rhythmically even phrase is here the beginning not so much soft or weak, but calmly calm, as if cooling the ardor of sharp impulses.
This perception of the phrase is also determined by its place in the entire Minuet. After all, the three-part form of the classical minuet is strictly prescribed by tradition, and a more or less prepared listener knows that the trio will be followed by a reprise, where in this case the primacy of the dance-lyrical principle will be restored. Due to this psychological attitude, the listener feels not only the subordinate position of the described quiet phrase within the trio, but also that it serves as a representative of the dominant element of the entire piece, which has only temporarily faded into the background. Thus, the classical contrast ratio of motifs turns out to be ambivalent in the trio and is given with a certain mildly ironic tinge, which, in turn, serves as one of the expressions of the scherzoness of this trio as a whole.
The general dramaturgy of the play is connected, as is clear from what has been said, with the displacement of the scherzo element by the lyrical one at different levels. In the topic itself, the first sentence contains an acute syncopation, the second does not. We have followed in detail the overcoming of the scherzo element in the tripartite form of the first section. But after the quiet and gentle intonations of the lyrical addition, this element again invades as a trio, only to be again supplanted by the general reprise. We digress from the repetition of parts within the first section of the Minuet. They have a predominantly communicative meaning - they fix the corresponding material in the listener's memory - but, of course, they also affect the proportions of the piece, and through them the semantic relationships, giving the first section more weight compared to the trio. Least of all these repetitions affect development logic: for example, after the first appearance of the addition, the imitation middle sounds again, starting with accented two-tone motives of the bass voice (see example 69), and after repeating the addition, a trio begins, starting with a similar motive.
Having finished the analysis of the thematic material and the development of the piece, let us now return to the anticipations we noted (in the extreme sections of the Minuet) of later lyrical melody. It would seem that they were not at all caused either by the genre of the minuet in general, or by the nature of this piece, which by no means claims to have special emotional expression, developed songwriting, or a wide spill of lyrical feelings. Apparently, these anticipations are due precisely to the fact that the lyrical expressiveness of the extreme sections of the play is consistently enhanced in the struggle against the scherzo-dynamic element and, as it were, is forced to put more and more new resources into action. Since this is carried out under conditions of severe restrictions imposed by the chosen genre and the general warehouse of music, which do not allow a wide or violent overflow of emotions, melodic and other means develop in the direction of the subtle lyrics of small romantic pieces. This example shows once again that innovation is sometimes also stimulated by those special restrictions that are associated with the meaning of the artistic task.
Here the main artistic discovery of the play is revealed. There are many lyrical minuets (for example, by Mozart) that are even more profoundly lyrical than this one. Minuets with all sorts of scherzo shades and accents are found in abundance among the Viennese classics. Finally, combinations of lyrical elements with scherzo elements are not uncommon in minuets. But the consistently executed dramaturgy of the struggle of these elements, in the process of which they seem to spur and reinforce each other, the struggle leading to a climax and a denouement with the dominance of the lyrical beginning after it, is a specific, uniquely individual discovery of this particular Minuet and at the same time the discovery typically Beethoven in its extraordinary logic and striking dialectic of dramaturgy (transformation of scherzo accents into one of the manifestations of the lyrical climax). It also led to a number of more private discoveries in the field of the described anticipations of the lyrics of nineteenth-century composers.
The originality of the piece lies, however, in the fact that the means of post-Beethoven lyrics that have arisen in it are not given in full force: their action is restrained by the general nature of the piece (fast tempo, dance, a significant role of staccato, the predominance of quiet sonority) and its position in the sonata cycle as a part that contrasts with other parts also with less weight and is designed to give some relaxation. Therefore, when performing the Minuet, it is hardly necessary to emphasize the features of romantic lyrics: immediately after Largo e mesto, they can sound only in an undertone. The analysis presented here, much like slow-motion filming, inevitably highlights these features too close-up, but only in order to better see and understand them, and then to recall their real place in this play - albeit lyrical, but secular, witty and mobile classical minuet. Feeling under its cover, in its restraining framework, these features give the music an inexplicable charm.
What has just been said about the Minuet applies, to one degree or another, to certain other compositions of early Beethoven or to their individual episodes. Suffice it to recall, for example, the mobile-lyrical opening theme of the Tenth Sonata (Q-dur, op. 14 No. 2), extremely flexible, sinuous and elastic, containing many features that later became characteristic of the lyrics of subsequent composers. In the connecting part of this sonata, there is a chain of descending suspensions, repeated (sequenced) twice up and down (bars 13-20), which also throws the arc to the melody of the future, especially to the typical dramaturgy of Tchaikovsky's melodic lines. But again, the almost ready-made mechanism of the later lyrics is not set in full swing: the mobility of the theme, the comparative brevity of the detentions, the grace notes, and finally, the Viennese-classical nature of the accompaniment - all this restrains the emerging romantic expressiveness. Beethoven, apparently, proceeds in such episodes from the traditions of Rousseau's sensitive lyrics, but he transforms them in such a way that means are created that in many respects anticipate the future, although only in it they will fully reveal (of course, under correspondingly different conditions of the context) their expressive possibilities, will begin to operate in full force. These observations and considerations may give some additional material to the problem "Early Beethoven and Romanticism".
In the previous exposition, the Minuet was considered as a relatively independent piece, and therefore indications of its place in the sonata were limited to the necessary minimum. This approach is largely justified, since the parts of classical cycles do have a certain autonomy and allow for separate performance. It is natural, however, that a part exerts its full artistic influence only within the framework of the whole. And therefore, in order to understand the impression produced by the Minuet when perceiving the entire sonata, it is necessary to clarify the corresponding correlations and connections - first of all with the immediately preceding Largo. An analysis of these connections will be combined here with a demonstration of a certain way of describing a work - the way mentioned at the end of the section "On Artistic Discovery": we will, as it were, derive the structure and partly even the thematics of the play (at some levels) from its creative task known to us in advance, its genre , functions in the sonata cycle, from the artistic discovery contained in it, as well as from the typical features of the composer's style and the traditions embodied in it.
Indeed, the role of this piece in the sonata is largely determined by its relation to the neighboring parts - Largo and finale. The clearly expressed scherzo features of the latter would not be consistent with the choice of the scherzo as the genre of the third part of the sonata (it is also impossible here to do without a fast middle movement, that is, to make the cycle three-part, since this finale could not balance the Largo). Remains - in terms of early Beethoven's style - the only possibility is a minuet. Its main function is a contrast to the mournful Largo, giving, on the one hand, relaxation, less tension, on the other, some, albeit restrained, lyrical enlightenment (in some places with a pastoral tinge: we recall the introduction of the theme, which begins against the background of a trill in the upper voice ).
But the classical minuet itself is a contrasting three-part form. And in cases where he is predominantly dance-lyrical in nature, his trio is more active. Such a trio can prepare the finale, and in this preparation lies the second function of the Minuet.
Recalling now Beethoven's tendency to develop in concentric circles, it is easy to assume that the comparison of the dance-lyrical and more dynamic (or scherzo) beginnings will be carried out not only at the level of the minuet form as a whole, but also within its parts. An additional basis for such an assumption is a similar development (but with an inverse relationship of themes) in the fast middle part of the earlier Second Sonata. Indeed, in her Scherzo, the contrasting trio naturally has a more calm, melodious character. But in the middle of the extreme sections there is also a melodious episode (gis-moll), close in its even rhythm, smooth melodic pattern, minor mode (as well as the texture of the accompaniment) to the trio of the same Scherzo. In turn, the first bars of this episode (repeated quarters) follow directly from bars 3-4 of the main theme of the Scherzo, rhythmically contrasting with the livelier initial motifs. Therefore, it is easy to expect that in the dance-lyrical extreme sections of the Minuet from the Seventh Sonata, on the contrary, a more mobile middle will appear (this is actually the case).
It is more difficult to realize in the Minuet a similar relationship within the main theme. For if the themes of the active or scherzo type do not lose their character when calmer or softer motives are included as a contrast, then the melodious, lyrical themes gravitate towards more homogeneous material and non-contrasting development. That is why in the Scherzo from the Second Sonata, the melodious trio is homogeneous, and the first theme contains some contrast, while in the Minuet from the Seventh Sonata, the more active trio is internally contrasting, and the main theme is melodically homogeneous.
But is it still possible to introduce a contrasting dynamic element into such a theme? Obviously, yes, but only not as a new motive in the main melodic voice, but as a short impulse in accompaniment. Taking into account the role of syncopation in Beethoven's work as such impulses, it is easy to understand that, given the general idea of ​​the Minuet, the composer could naturally introduce a syncopal accent into the accompaniment of the theme, and, of course, where it is most needed and possible with communicative point of view (on the decline of tension, during the relatively long sounding of the cadence quarter-sext-cord, that is, as if instead of the usual figurative filling of the rhythmic stop of the melody). It is possible that this communicative function was the initial one in the real creative process. And this already encourages that in the further development of the Minuet, the scherzo-dynamic element appears mainly in the form of short impulses. The intention is to consistently carry out a struggle at different levels opposite principles may suggest a happy thought to give lyrical syncopations in the theme as well and thus make the comparison of different types of syncopation one of the means of realizing the main artistic discovery (a kind of sub-theme of the second kind, which serves to solve common theme plays). The vicissitudes of the struggle that we have described above could also be deduced from this situation almost as "suggestive".
The quotation marks here, of course, point to the conventionality of such deductions, because in a work of art there are no elements and details that are neither absolutely necessary nor completely arbitrary. But everything is so free and unconstrained that it may seem the result of an arbitrary choice of the artist (an unrestricted game of his imagination), and at the same time, it is so motivated, artistically justified, organic that it often gives the impression of being the only possible one, while in reality the artist’s imagination could to suggest other solutions. The derivation, as it were, of some features of the structure of a work from a certain kind of data that we use is only that method of description that clearly reveals precisely the motivation, organic compositional solutions, the correspondence between the structure of the work and its creative task, its theme (in the general sense of the word), the natural implementation of the theme at different levels of structure (of course, in some specific historical, stylistic and genre conditions). We also recall that such a “generating description” does not at all reproduce the process of creating a work by an artist.
Let us now deduce, based on the conditions known to us, the main motive of the Minuet, its initial turnover, which occupies the first three measures and a strong beat of the fourth. One of these conditions is the deep motive-intonational unity of the parts of the cycle, characteristic of Beethoven's style. Another is the already mentioned function of the Minuet, and above all of its main theme, as a kind of dawn, a quiet dawn after Largo. Naturally, with the Beethovenian type of unity of the cycle, enlightenment will affect not only the general character of the music (in particular, in the change of the minor of the same name by the major): it will also manifest itself in the corresponding transformation of the very intonational sphere that dominates in Largo. This is one of the secrets of the Minuet's especially bright impact when it was perceived immediately after Largo.
In the first Largo bar motif, the melody rotates in a diminished fourth range between the opening tone and the tonic minor third. Bar 3 contains a gradual decay from the third to the opening tone. The main motif of the side part also follows from it (we give an example from the exposition, that is, in the key of the dominant).
Here, a choreic intonation of the detention type is directed to the introductory tone (a quarter-sext chord resolves to the dominant), and the third top is taken by an octave jump.
If we now make the motif of the side part of Largo light and lyrical, that is, transfer it to a higher register, to major and replace the octave jump with a typical lyrical sixth V-III, then the intonation contours of the first motive of the Minuet will immediately appear. Indeed, in the motive of the Minuet, both the jump to the third top, and the progressive decline from it to the opening tone, and the delay to the last one are preserved. True, in this smoothly rounded motif, the opening tone, in contrast to the motif of the side part Largo, gets a resolution. But in the lyrical conclusion of the Minuet, where the same motif occurs in a low register, it ends precisely on the introductory tone, and the intonation of the detention is emphasized, stretched. Ultimately, the motivic formations under consideration go back to a gradual descent in the volume of a fourth, which opens the initial Presto of the sonata and dominates it. For the side part Largo and the Minuet motif, the beginning with an upward jump to the third degree of the mode and the delay to the introductory tone are specific.

Finally, it is important that in the final part of the Largo exposition (bars 21-22) the motif of the side part also appears in a low register (but not in the bass voice, that is, again, as in the Minuet), sounds forte, pathetic, and therefore quiet major main the motive from the addition of the Minuet appears with particular certainty as a pacification and enlightenment of the intonation sphere of Largo. And this is regardless of whether the arch described now reaches the consciousness of the listener or remains (which is much more likely) in the subconscious. In any case, the close intonational connection between the Minuet and Largo in a peculiar way sets off and sharpens their contrast, deepens and refines the very meaning of this contrast, and, consequently, enhances the impression made by the Minuet.
There is no need to dwell on the connections of the Minuet with other parts of the sonata. However, it is important to understand his main theme-melody not only as a result of the corresponding development of the intonational sphere of this cycle, in particular its genre transformation, but also as the implementation of the traditions inherited by Beethoven of the same melodic-dance, mobile-lyrical warehouse. What we have in mind now is not the expressive and structural-expressive primary complexes concentrated in the main motif (lyrical sixthness, lyrical syncopation, retention, jump with smooth filling, small wave), but, first of all, some successive connections of the general structure of the theme as a certain kind of square period with similar dance, song and song-dance periods of Mozart.
One of the features of the theme of Beethoven's Minuet is the beginning of the second sentence of the period a second higher than the first, in the key of the second degree. This also happened with Mozart. In Beethoven's Minuet, the possibility of sequential growth inherent in such a structure is realized: in the second sentence of the reprise inside the extreme sections, as we have seen, an ascending sequence is given. It is significant that its second link (G-dur) is partly perceived as the third one, since the first link (e-moll) is itself a sequential movement of the initial motive of the piece (this enhances the effect of growth).
Among Mozart's melodic-dance periods with the described structure, one can also find one in which the melodic and harmonic contours of the thematic core (that is, the first half of the sentence) are very close to the contours of the first motive of Beethoven's Minuet (theme from the side group Allegro of Mozart's Piano Concerto in d-moll).
The melodies of the initial core of this theme and the theme of Beethoven's Minuet coincide note for note. The harmonization is also the same: T - D43 -T6. In the second sentence of the period, the initial core is similarly moved up a second. The second halves of the first sentences are also close (gradual decline of the melody from the 5th to the 2nd degree of the scale).
Here, the very fact of the relationship between the theme of Beethoven's Minuet and one of the bright dance-singing side parts of Mozart's sonata (concert) allegro is indicative. But even more interesting are the differences: although the third peak in Mozart's initial motive is more prominent, the absence of lyrical syncopation and retention in it, a less even rhythm, in particular two sixteenth notes of a somewhat melismatic nature, make Mozart's turn, in contrast to Beethoven's, by no means close to romantic lyrics. And finally, the last one. A comparison of two related themes illustrates well the opposition of even and odd meters, which was discussed in the section “On the System of Musical Means”: it is clear to what extent the three-beat theme is (ceteris paribus) softer and more lyrical than the four-beat theme.

The biggest difference between this sonata and the previous three is its pronounced romantic character. From the very first bars, the triplet texture creates a feeling of anxiety and movement. The side part does not carry a strong contrast with the main part, retaining the internal pulsation of triplets. The polyphonic development of the side part is also atypical, which before this sonata was not found in Beethoven's violin sonatas.

It is hard to believe that in such a fruitful period, Beethoven is acutely experiencing rapidly progressive deafness and incessant tinnitus.

The Fourth Sonata is in three movements. In my opinion, the cycle is completely unique in its modest volumes, which is very unusual for Beethoven, and in its concentrated presentation of musical material. The first and third parts of the sonata form a figurative arch. This is one of the few finales of violin sonatas, and indeed finals of that time, written in minor and continuing the development of the images of the first movement. D.F.Oistrakh described this sonata as "Small Kreutzer".

The dramatic I part and the dramatic finale are separated by the major Andante Scherzoso, which musicologists often call the “interlude” (in general, the arrangement of the frets is also unusual - more often we encounter fast major extreme parts and slow minor part II).

The fact that a sonata was written in a minor key is also unusual - at the dawn of the 19th century, a symphony, and even more so a sonata (which were composed most often for the entertainment of the public) in a major, were the norm. So the minor sonata was a rare exception; as a rule, by this the composer wanted to inform the listener of "the exceptional seriousness of this work." This circumstance alone makes one look at artistic value sonata cycle in a completely different light. Before Beethoven, the chamber genre was seen as light music for the listeners to relax. Thus, the use of minor keys in chamber music contradicted the very idea of ​​secular concerts, since the minor, most often, opens up the sphere of dramatic, and very often tragic images before the listener. And the fact that the Fourth Sonata became the first minor of all ten tells us about the "romantic" content of this work.

The first movement is traditionally written in sonata Allegro form. In this case, it's a Presto sonata.

The action is actively unfolding from the first bars. The theme sounds in the piano part, its excited and even nervous character is emphasized by the grace note to the first beat and the rapid pulsation of the arpeggiated tonic chord in the bass (such continuous and dynamic movement from the first bars of the work reminds me of the finale of Brahms's Third Violin Sonata in d-moll).

Beethoven Sonata No. 4

Brahms. Sonata No. 3, Finale

As B.V. Asafiev rightly noted, “Perhaps this paradoxical image - tense stability - best conveys the main quality of Beethoven's tonicity.”

In my opinion, the theme of the main game is a big sentence (22112) with an addition (4). I do not agree with R.A. Saifullin, who in his work “Semantics of Musical Text and Performing Recommendations” claims that the theme of the main part is written in a simple three-part form. He sets the boundaries as follows:

(bars 1-12) (bars 13-23) (bars 24-29)

In my opinion, the boundaries of the main party should be designated as:

Big offer

What Saifullin calls the second part of the main party, in my opinion, is the beginning of the connecting party. In turn, I would define its structure as 2 + 2 + 4 + 5:

This type of linking parts was found among composers of the late 18th and early 19th centuries, when the classical sonata form was not yet completely formed and was somewhere between classical and baroque. T. Kyureghyan called this type of sonata “pre-classical sonata form”, where the connecting part was a model and its sequenced repetitions with further modulation into the key of the side part.

This is by no means the only feature of "old times" in this sonata. The boundaries of the exposition-development and reprise-coda are marked with a reprise sign, which is typical for baroque suites and partitas; Haydn and Mozart used this form of form. Beethoven used it in Sonata op.10 No.2.

The musicologist Lenz calls form I of the Fourth Sonata a sonata, but at the same time makes a clarification that there is no other form like this in all musical literature.

The theme of the side part is based on a large sentence with structure 2222, it is repeated twice: in the violin part and the piano part. At the same time, the “opposite” also does not change: what the piano sounds at first is transferred to the violin. This enhances and deepens the emotional impact on the listener. In general, the use of polyphony in side parts is atypical for Beethoven, and was not previously encountered in his violin sonatas.

The first holding of the theme The second holding of the theme

The nature of the side part is calmer compared to the theme of the main part, but the calmness is somewhat imaginary, there is no balance here, the theme is very fluid, everything is permeated with second intonations.

After the double passage of the theme, an addition of 8 bars sounds, also permeated with lamento intonations and imitations. So the side-batch scheme looks like this:

The final part "stands" on the tonic organ point, in turn, it also has its own microsections, which can be considered as a reduced model of the side part:

In the last section of the final game in the table, I indicated that there is a drop in apparent voltage. But what is important is that on the tonic organ point e-moll, a reduced introductory dis-fis-a-c sounds, and by overlapping each other, a feeling of strong tension is created.

Thus, this miniature exposition fits in only 67 bars, but such limited space does not prevent Beethoven from laying a stable rich thematic foundation and giving the first sprouts of development. Compared with the exposition, Beethoven gives a real, detailed, "Beethovenian" development - 95 measures. It is divided into several sections, which I have identified in accordance with the musical material undergoing development. In the table, I clearly marked the boundaries of the sections and identified the musical-thematic element that Beethoven develops in this section. In the text below the table, I described each of the sections in more detail, also indicated the initial sections of each of the sections:

The development reproduces the theme of the exposition clearly in chronology, bypassing only the side game.

In the first section, the first element of the main part is singled out, which Beethoven subjects to tonal and harmonic development. The first six measures in the bass of the piano sound the already familiar arpeggiated tonic triad, which takes us to the beginning of the exposition with its restless and impetuous character. But in the next 8 bars, this motive is joined by a bar-long continuation, which radically changes the nature of the sound. Now the violin and piano, as it were, throw a decisive and sharp challenge to each other, this motive sounds like a question and answer for both soloists, which, in turn, becomes a model for sequenced (tonal) development. A chord sounds on the first beat (with a grace note): and only in the first case it is D6 / 5 to d-moll, in the remaining three cases it is a reduced non-chord on D bass, creating a strong sound tension. But tension is created not only in the sound of the harmonic vertical, but also in the horizontal: in this descending line, an increased second is clearly distinguished, which further emphasizes the brokenness of the melodic pattern. In addition, this motif sounds unaccompanied, and a large number of pauses in the parts of both instruments “tear” the melodic fabric, finally giving the music a desperately rebellious character.

The melodic horizontal confidently rushes upward, thus building up tension, but the second section interrupts this trend with a few bars of abstract lyrics. This section is the smallest, only 7 measures, and, in my opinion, the lyrics here are imaginary, although a characteristic wide melody appears on the violin and ostinato figuration in the piano part. This section takes us away from the passions and anxieties we had at the beginning of development; but as imperceptibly this calmness came, just as imperceptibly it left us, which is replaced by the third section, where the descending element of the connecting part undergoes tonal, harmonic, melodic and polyphonic development. In general, this element has already been laid in the second section in the major version, in which case these sections can be combined.

The entire third section oscillates between the keys of a-moll and d-moll and is built as a dialogue between soloists, the tension in which grows with each measure.

The fourth section can be titled as a "preface" to the new topic. He is completely on D a-moll and, as it were, prepares the most important development event - the emergence of a new theme. Here we see echoes of those polyphonic devices that Beethoven used in the final part of the exposition.

The appearance of a new theme is indeed a significant event in this form. “Preface” - Section IV could serve as a traditional preface to a reprise, but Beethoven has not yet finished everything that he had in mind, therefore new topic in development has become a great tool to do this. This theme reminds me of the second theme of the side part in the finale of the Third Violin Sonata by Brahms, which I have already mentioned:

The form of the new theme can be defined as three 8-bar periods of re-building, the third of which opens and leads us straight to the reprise, to the reprise key of a-moll. All 3 periods are built on the same thematic material and are held in three different keys: a-moll, d-moll, B-dur. Modulations occur by mapping. In the latter case, the modulation of B-dur is a-moll, gradual: through D there is a deviation in d-moll, from the tonic quarter-sextakcord d-moll, without leaving the bass “a”, Beethoven goes to D of the main key a-moll.

The outline of the new theme looks like this:

The new theme stops the build-up of dramatic tension in the development, in my opinion, the beginnings of balance appear in it, something that did not exist before (I think that Brahms based himself on this theme when he wrote the finale of his Third Violin Sonata).

But in the last four bars of the theme, there is a crescendo, the tension builds momentarily, reminding us of all the events of the development, which leads us to a dynamized reprise.

The reprise lacks the theme of the linking part. The skeleton of the theme of the main part does not change, the same structure of 22112 remains, but the addition is built according to a different principle: Beethoven singles out an element from the base - an ascending triad (which previously sounded in the piano part) and with the help of it modulates in C-dur (the key of the side part in reprise). The modulation process follows the table below:

The theme of the side game runs 2 times, just like in the exposition. But in the exposition there was an exact repetition of the theme with a rearrangement of voices. Beethoven retains this polyphonic device in the reprise, but the first passage sounds in C-dur, and the second passage of the theme, as it should be according to the laws of reprise, in the main key of A-moll.

The theme takes on a lighter sound, for a moment we even think that the sky has cleared up from dramatic collisions, but the addition (8 measures, as in the exposition) again brings us back to the real world of wrestling.

The final part is built in exactly the same way as in the exposition, the addition increases: 4 + 4 + 10, in which modulation occurs in d-moll. The reprise ends with the “beginning of development”, but the continuation does not follow. And the first exclamation of the violin on the grace note is interrupted, followed by the introduction of a new theme from the development, which, of course, is a unique feature of the form of this movement (although by position in the form the new theme is a coda)

The conduction is shortened, instead of 8-bar periods, Beethoven leaves only four bars, after which he modulates into a different key. The theme starts in a-moll, modulates through DD into a-moll.

Here is how the structure of the new theme looks schematically in the code:

In the second and third passages of the theme, there is a slight vertical permutation of the voices within the piano part.

Part I ends with pp, which is also uncharacteristic for Beethoven. Such an ending is, of course, part of the ideological design. It creates the effect of confusion, unfulfilled hopes, calm before further struggle for one's happiness.

As we can see, the structure of the I part of the Fourth Sonata is very atypical for Beethoven, but, on the other hand, we clearly see the hand of the master: sophisticated polyphonic techniques, play of keys, various modulations and, of course, very expressive and imaginative thematism.

So, in the first part we met a number of techniques that are not standard for the classical sonata Allegro. In contrast, Beethoven writes the second movement of the sonata Andante Scherzoso piu Allegretto in the most Viennese-classical sonata form, which, in turn, is very unusual for a slow part of a classical sonata cycle.

The French musicologist Lenz dubbed this part “spring song” not by chance, in character it would rather fit the 5th “Spring Sonata”: very simple, naive, light, it is the exact opposite of part I.

The theme of the main part is emphatically simple: the chords are functionally and structurally simple, the pauses that permeate the theme are very expressive. They seem to be filled with sounds, they are very reminiscent of the echo, which they will later become when the violin enters.

The theme of the main part is a simple two-part non-reprise form, its structure is indicated in the following table:

The connecting part here is the most complete, unlike the exposition, it is based on a new theme, and in form it is a Fugato with a tonal response, a retained counterposition and one stretto. Beethoven develops the inclinations of polyphonic development in the first part, in the third part they will reach their climax (Beethoven willingly used polyphonic techniques in genre-descriptive works, often to emphasize the scherzo character) The process of polyphonic development in Fugato is shown in the table, the “theme” is denoted by T, "answer" O, "counterposition" P:

The D addition to E-dur brings us to the theme of the side part, written in the form of an eight-bar period with extension and addition. To clarify how a typical eight-measure period takes 17 measures, I made a "non-square table" of the side part's theme, where I displayed all the repetitions, additions and expansions:

No repetition
With repetitions	4 + 4 (repeat with violin)	4 + 5 (cadence extension)

The side part has a very bright and recognizable figuration - a trill, chirping, which gives even greater lightness and naivety to the melody - and next time it will only be found in a reprise.

The final part is a simple two-part non-reprise form, divided into two different parts, in the first of which only a reminder of the events of the first part returns for a moment: a subito sf appears, an accentuated strong beat on the violin, but the touch of drama immediately disappears, leaving the dominance of the simple , unpretentious and melodious main theme of the final part. Thus, the scheme of the final game looks like this:

Thus, we see that each theme of the exposition is held twice, but it always starts with a piano solo.

The development is miniature, it fits in only 36 measures, it is not at all “Beethovenian”, not at all dramatic, it is built on the development of the themes of the main and connecting part.

The four bar that opens the development is the first four bar of the theme of the main part: the theme sounds in parallel fis-moll on the piano against the background of the ostinato dominant on the violin. The theme does not receive development, but flows into the theme of the connecting party, which undergoes changes in development.

There is no longer any opposition from the exposition, instead a two-bar motif appears, actively involved in polyphonic development, Beethoven uses vertical and horizontal permutations, polyphonic interaction is carried out between all three voices. All this happens against the background of continuous tonal development: fis-moll, G-dur, a-moll, h-moll.

In the following bars, the initial element of the Fugato theme is taken as the basis for the development, I think Beethoven deliberately oversimplifies it to imitative development, using the second leith intonation from the theme of the main part as a “counterposition”.

Meanwhile, the tonal movement continues, this time, in perfect fourths: h-moll, e-moll, a-moll, d-moll. From d-moll, with the help of a reduced seventh chord dis-fis-a-c, Beethoven falls on the dominant of the main key, thereby starting to prepare a reprise. It stays on D for 5 measures, then releases it too, leaving our hearing only the second late intonations of the theme of the main part, with which two soloists echo, after which we get into a reprise.

So, inside this small development there are no such obvious boundaries as in the development of Part I, but for convenience, several sections can be distinguished here:

In the reprise, changes in the main part are obvious from the first bars. In the violin part, a scherzo tune from sixteenth notes is added, accompanying the cadenzas. It gives a playful character to the music.

The trill in the piano part, sounding against the background of the second late intonations of the theme of the main part, gives a pastoral sound.

The second part of the theme of the main part is now accompanied by short-term undertones on spiccato by the violin, on a light staccato by the piano, which emphasizes the scherzo nature of the theme.

The theme of the main part is transformed, overgrown with undertones and embellishments, but the main structure of the theme does not change.

On the other hand, the appearance of the connecting part changes somewhat: firstly, the theme enters first at the violin, but then the theme no longer appears in the violin part, passing into the lower voices of the piano part. The theme is devoid of such polyphonic frills that we saw in the linking part of the exposition. There are only 2 full passages of the theme here, this is how this simplified scheme of polyphonic devices looks like in the theme of the connecting part in the recapitulation:

The themes of the side and final parts do not undergo any harmonic and structural changes, only, according to the rules of classical sonata form, they are transferred to the main key - in this case, to A-dur.

We see how strong and important for Beethoven is the concept and ideological concept of this sonata, for the realization of which the creation of such a contrasting image in the second movement was simply necessary: ​​if you look at Andante Scherzoso even more carefully, we will not find harmonies here, more complicated than the usual seventh chord, The cadences here are emphatically transparent and clear; the pauses in the themes give them an exquisite simplicity and elegance.

Part II serves as an interlude, a "rest" between the dramatic Part I and the rebellious finale, which will be discussed now.

The finale is traditionally written in the form of a Rondo sonata. The structure of this part is complex, therefore, for convenience, I will immediately present a table-diagram of the part:

In my opinion, in the refrain Rondo 1, the metric measure is equal to two graphic measures, this is also suggested by the size of the movement - Alla brave. But in some episodes, 1 metric is equal to 1 graphic, so to avoid confusion, I will calculate the graphic cycles (the table also shows the count of graphic cycles).

The refrain is a very expressive theme, it combines contradictory features: epic-narrative, lyrical, with a touch of dramatic restlessness and bustle. The theme in the first sentence is held at the piano, his voices first move oppositely, then strictly parallel - this clear convention also creates a certain effect of sonority. And against the background of the theme, the D pedal of the violin sounds - all this in combination conveys an extraordinary state of excitement and at the same time detachment:

When the theme comes from the violin, small figurations appear in the accompaniment in the middle voice, supported by a laconic bass - this subconsciously speeds up the movement, although the tempo remains the same.

In addition, there is an amplification and expansion of dynamic space due to crescendo and octave doublings. The refrain ends on f, which creates a more striking contrast with the subsequent first episode on p.

I think it's impossible to clearly define the form of the first episode. It uses the structure that composers usually use in developments and other parts where any development of musical material takes place. But this does not mean at all that the episode is devoid of a bright distinctive theme or motive, especially since the theme of the first episode is also the theme of the side part of the finale. In the following notation example, only the beginning of the theme is shown:

The crown of the first episode is the reduced seventh chord, which brings a fresh harmonic stream compared to the diatonic refrain.

Also expressive is the new texture that Beethoven introduces here for the first time - these are wide diverging waves-melodies of the piano and violin parts, which push the boundaries of sound space, and also carry out tonal movement: h-moll, a-moll, e-moll. Below is just one of the links:

Numerous inter-measure syncopations also bring their own flavor to the sound:

But the most striking bars in this episode, one might say, in this sonata, are the bars of a soulful and laconic recitative that runs in both parts, which also refers us to the famous recitative of the piano sonata op. 31 No. 2:

This expressive recitative serves as a transition to the refrain. The refrains in this part follow without changes.

The second episode is the smallest of all, it refers us to the mood of the second part, it has features of light toccato.

In my opinion, in form it is a large sixteen-bar period with an extension. But this judgment is debatable: there is no middle cadence on D, which is usually a hallmark of the period. Here we meet 3 cadences modulating in h-moll, d-moll and a-moll. Moreover, the modulation into the main tonality occurs in an interesting way: Beethoven begins the cadence turnover as traditional. He takes the tonic, S with a sixth, followed by an altered S, which is already implied as a D to a minor, and not an altered S to d minor:

S with sixth Salt. = Da-moll

The third central episode is the most interesting. Looking at the notes, one involuntarily recalls medieval chorales and chants, which later romantic composers used as themes for variations:

Beethoven also wrote this episode as a variation on the theme presented in the music example above. The structure of the episode is quite transparent, but since the episode is large-scale, for convenience, we will draw up a scheme of variations, which reflects the texture and type of each group of variations:

In the episode, which I have designated as the fourth, there is a reminiscence of all three previous episodes. This segment of the form serves as a reprise of the part.

The side part-theme of the first episode, as expected, was transferred to the main key of a-moll.

The theme of the second episode is reduced to a sentence, at this location in the form it resembles a modulating move in B major, which brings us to the theme of the third episode.

Beethoven gives the opportunity for a variational development of this theme, but literally immediately modulates into the main a-moll and strives for completion, that is, for the final holding of the refrain. Here's what it looks like in sheet music:

The last passage of the refrain is dynamized; it does not differ from the previous ones in structure and harmony. But Beethoven initially changes the direction of the melody, thereby emphasizing the significance of the LAST refrain - the completion of the part and the whole sonata:

The tension is again pumped up, but already ready for its logical conclusion. The last 9 bars of the sonata in the violin and piano part sound confident arpeggiated triads, going symmetrically diverging in opposite directions, eventually reaching the last tonic consonance together:

A holistic analysis of the content and form of the sonata Op. 31 No. 2 in D minor (No. 17)

Piano Sonata in D minor, op. 31 No. 2, was written by L. van Beethoven in 1802, together with sonatas No. 16 and No. 18. Unofficial titles: "The Tempest", "Sonata with Recitative", "Shakespeare's Sonata". It is believed that Sonata No. 17 is a psychological portrait of the composer himself. Unlike other sonatas, it goes without a dedication. 1802 - a period of tragic reflections, gloomy feelings, thoughts of suicide due to deafness, the collapse of hopes for personal happiness. It was in 1802 that the composer wrote the famous "Heiligenstadt Testament" (see Appendix 1). After the death of L. van Beethoven, several documents were found in a secret drawer of his closet, to which he apparently attached special meaning. One of these documents was a poignant letter written by him in October 1802 in the village of Heiligenstadt near Vienna and called the Heiligenstadt Testament.

A dramatic worldview appeared in the seventeenth sonata not only in terms of figurative and intonation, but also in a freer, improvisational logic of constructing a musical form, through the development of thematics. This sonata continues the line of fantasy sonatas with intense lyrical and dramatic development, therefore there are no clear cadences between sections of sonata form in it, most often the end of one section is at the same time the beginning of another. This connection is possible thanks to musical features those sonatas that often begin and end in dominant harmony. It should be said that tense dominant harmony (usually in the form of a seventh chord) is used here more often than stable harmonies, which creates strong tension and aspiration musical movement sonatas. In this sonata, as in some of the previous ones, L. van Beethoven again returns to pathetic moods, to the epic and majestic flow of images of his first allegro and largo. It is remarkable that more and more new searches for dramatic expressiveness make L. van Beethoven seem to exceed the measure, to overstep the boundaries of purely instrumental techniques. The entire piano palette, even enriched with echoes of symphonic timbres, is not enough for him. And in the development of the allegro of this sonata, a recitative of a vocal type appears, so expressive that we seem to hear a word that has not yet been uttered, which many years later will sound in the vocal part of the ninth symphony. The melodic material of the middle part of the adagio is also noted for its extraordinary expressiveness. The melody passes against the background of short trembling beats of the timpani, like a lively voice, strict and persuasive. These speech intonations are replaced by a spontaneous beginning in a wonderful finale, which creates the impression of either a slight movement of the wind or a stormy whirlwind.

Sonata No. 17 continues the line of fantasy sonatas: a lyrical-psychological, passionate tone of expression, psychological contrasts of a high level of tension, improvisational, fantasy music techniques, but unlike Sonata No. 14, it does not have the title “SonataquasiunaFantasia”. The content of the sonata is the lyrics of a passionate, stormy, dramatized sound, a return to pathos, but with psychological understanding. There are three parts in the cycle, outwardly of a classical structure: Largo - Allegro, d-moll; Adagio, B-dur; Allegretto, d-moll. Each part is written in the sonata form of various variants, complicated by features of other forms: fantasies (elements, structure, developmental techniques), variation (all themes in all parts are based on common elements as variants), through form (there are no exact reprise repetitions).

The first part is a complete sonata form, but thanks to individual mutematism, it has a number of sharply innovative musical ideas in dramaturgy, composition, and language. The main part (bars 1 - 20) in the exposition is built on two contrasting elements: arpeggio and ariose-recitative descending second intonations-sighs. The first construction - d-moll, begins with a dominant function. The second construction of the main part is a variant of the initial one, but in the key of F-dur, with an expansion of the structure and intonation and modal-tonal development. These two constructions have, as it were, an introductory meaning - in the course of a free improvisational presentation, a gradual crystallization of thought occurs. It acquires a clear form only in the third formation, which plays liaison role, but despite this, it does not have a single stable, in the full sense of the word, expositional construction. The image from the very beginning is revealed in the process of growth and development. The main party has the form of a period, which consists of two sentences. The first sentence is 6 measures (2+4) with a cadence on the dominant, the second sentence is 14 measures (2+12) with a cadence invading the connecting section on the tonic d-moll. A period with an extension, since the second sentence is extended in the cadence zone by 6 measures due to the dramatic recitative against the background of the cadence quarter-sext chord. The first sentence consists of two phrases - one phrase is 2 measures, and the second is 4 measures. The second sentence also consists of two phrases - one is 2 measures, and the second is 12 measures long. This phrase is built on a series of motifs that are repeated sequentially in an ascending direction, then in a descending one and the last chromaticized final motif in the main part. This period has a type of scale-thematic structure - summation. The period has a type of repeated structure, since the beginnings of two sentences are the same, with the only difference being that they sound in different keys. Both sentences consist of two parts based on intonationally contrasting elements.

The first phrase of the main theme (2 measures) is based on the first element - an arpeggiated ascending sixth chord (dominant in the first sentence, dominant to the third step in the second). By nature, he is interrogative and contemplative. In its genre foundations, one can designate signaling (more precisely, the sound of a fanfare) and declamation. Although the genre basis of the fanfare is very veiled by the pianissimo dynamics and improvisational free rhythm, the declamation sounds like a quiet question hanging on the dominant.

The second construction of the main theme, dramatic in character, consists of the second and third elements. The intonations of the second element have a downward direction. In the genre foundations, declamation is clearly manifested, especially the lamento intonation - a second descent with an emphasis on the first note - the entire melodic line of the first sentence is completely built from this mini- intonation, outlining the Phrygian turn in minor with reference sounds, first from la, then from re. And in the second sentence, the rhythmic division by two eighth notes is preserved, and the melodic movement is dynamized, large jumps appear, rising in waves to the culmination in measure 13 and breaking down to the tonic. Also in this part of the theme, the third element appears, the genre basis of which is associated with a march based on uniform chordal accompaniment. In the second sentence, this chordal accompaniment on the weak beats (2 and 4) gives the opposite effect of "out of breath".

The harmony of the main theme is simple, set out in clear chords, built in the first sentence on passing revolutions from D6 to T6, in d-moll and g-moll and stops at the dominant, and in the second sentence at the deviation in III, subdominant and using tense harmonies of the Neapolitan sixth chord and diminished seventh chords. A period with a deviation, since the second sentence begins in a new key, but returns to the main key by the end. After the composer has outlined the main theme, he begins the development of the main theme, or rather, the modification of its first element. And this is the beginning of the linking section of the exposition.

The assignment of the main theme of the seventeenth sonata to the chant type can cause controversy. Should we not see initio in her recitative two-bar. Yes, it has weight, aspiration, characteristic of initio, but there are contraindications to this. First of all - Largo pace. At such a tempo, even a short thematic turn, moving along the sounds of a triad, can appear sing-song - it all depends on the nature of the performance. We must not lose sight of the fact that in the reprise the sing-song tones of Largo are continued by the actual recitative, and their nature is revealed. The formal sign that distinguishes chant from initio is also important: the latter, as was found out above, moves after the first sentence, while chant is repeated only after the attached second element in the next sentence of the period. This is exactly the structure of the topic here: ab+a1b1.

The shift of the chant in the second sentence to a parallel is unusual for this type of theme, but there is still something unusual in this theme: the beginning of the main part from a dominant chord is the first case in the history of sonata form.

Linking part (bars 21 - 40) has general character with the main part, but a more excited image, a triplet rhythm, and the echo of two bright motives - bass and upper voice create a dialogue of two contrasting beginnings typical of L. van Beethoven. Ascending movement along the sounds of decomposed chords - strong-willed, objective proclamation and lamentous deplorable, singsong phrases based on subjective emotionally expressive second intonation. Never before has the thematism of the linking party been distinguished in the sonatas of L. van Beethoven by such a bright individuality, salience and functional significance in the further development of sonata dramaturgy. Written in the key of d-mollc with modulation in a-moll. The connecting section is a development of the main theme, based on a dialogue in different intonation registers of the first two elements of the main part and modulation into the key of the dominant. Structurally, this section occupies 20 measures and is built on the principle of fragmentation into smaller and smaller constructions (4 + 4 + 2 + 2 + 2 + 2 + 2 + 1 + 1), moreover, sequentially rising up. The tension of the section is also given by triplet harmonic figurations.

It is interesting to trace the transformation of intonations: in the first fanfare intonation, when transferred to a minor on forte, the declamatory component intensifies, now it sounds like an exclamation. The second intonation, due to the appearance of an off-beat, becomes more melodious, but in the process of development it is concentrated in one sound-exclamation. The tonal plan of the section presents a modulation from d-moll to a-moll, through a brightly-tense diminished double dominant chord to a-moll. The structure is developmental. “This is where the real drama begins,” writes Romain Rolland. Indeed, the roll call of two voices is a dialogue of two participants in the action. The “advance” of the lower voice and the “retreat” of the upper one almost visually take place. The fact that we recognize in these voices the transformed elements of the main party is another argument in favor of treating them as "actors". Here the illusion of combining functions is created, since in the main part these “persons” are only preparing for action, which gives initial stage exposition value of dramatic introduction; the action itself begins with a linking party. The intensity of passions in this section of the exposition reaches its apogee in the climax, where the motive of the upper voice is compressed to one sound, containing the richest inner content. Such a compaction of the intonation space leads to the fact that the expression contained in it requires relaxation, and as a result of the straightening of the intonational space, a moment arises when the functions of development and presentation are combined - the theme of the side part is born.

The side part (bars 41 - 54) is a new version of the development of the lyrical elements of the main part. The a-moll tonality indicates a strong tonic-dominant connection between these themes. Like the main part, the side part begins with a dominant function, which maintains a tense tone of presentation. The ariose-monologic type of melody creates a strong contrast with the previous thematics, and this, in turn, sharpens and ultimately focuses attention on the events taking place in the exposition. The theme of the side part grows out of the lamento intonations of the main theme, retaining its characteristic rhythm. Her small phrases sound more begging, doomed than the aspiring single line in the main party. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The first two sentences consist of two motives of 1 measure each and a phrase of 2 measures. The third sentence consists of 2 motifs of 1 measure each and a phrase extended to 3 measures. The period has a type of repeated structure, since each sentence begins the same way only from different sounds. The period is monochromatic. It has neither modulations nor deviations. The 1st and 2nd cadenzas end on the tonic, and the final cadenza ends on the tonic sixth chord. The harmony is simple, consisting of a tonic and a dominant (to a greater extent), set out in melodic figuration around the fifth degree, with the inclusion of seventh and none sounds. The theme of the side part is developed in short excited chants, the repetitions of which, perhaps, are generated by the imitation system. It is significant that the theme of the side part is introduced, as it were, “on the fly” and sounds on the dominant organ point of the dominant key, that is, on the harmony of the usual preface to the side part. The reason for this is the activity of the dramatic action, as if compressing the intonational space in all its parameters.

The final part (bars 55 - 92) contains the intonational elements of all the previous images, thus, as it were, summing up the first expositional stage in the development of the action. It also ends very significantly: on the dominant to the main tonality (sound A), as if opening the way to a new stage of development. Written in the key of a-moll in the form of a period with additions. Has a scale within 38 bars. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of two measures and a phrase of 4 measures. It ends with a half cadenza on a tonic triad. It is built on the alternation of the tonic a-moll sixth chord and the Neapolitan sixth chord. Already in this section, a rhythmic figure with an emphasis on the second note, opposite to the lamento rhythm, is born. The second sentence has a size of 6 measures, consists of three phrases of 2 measures. In the next sentence, this figure is clearly shown in a downward movement in parallel thirds, reminiscent of the main party. Size 6 measures, consists of 6 motives for 1 measure. The fourth sentence - 18 measures, consists of 4 motifs of 2 measures and a large phrase of 10 measures. This is where development slows down. In this section, against the background of swirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian revolution from the note mi. The same revolution in octave unison completes the exposition. The final batch is a period of non-repetitive building. Each sentence has its own new theme, not similar to the previous one. Monotone. The final cadenza ends on D to the main key. Calming is carried out on the alternation of the harmony of the cadence quarter-sextachord and the dominant, which also violates the stereotype familiar to L. van Beethoven himself. The more significant is the moment of the tonic in A minor. Behind her deep calm is the result of the experienced drama.

The unity of the exposition in the system of cadences separating the parts of the sonata exposition is very clearly felt: 20 measures of the main part - an invading cadence in a-moll; 41 bars to an invading cadenza in a-moll; after 24 measures, the second cadence in a-moll, with a stop. The system of cadences comes into conflict with the thematic material, because the connecting part is all based on the main theme and therefore, as it were, gives its continuation, and the side part is separated: 40 measures of the main and connecting, 45 measures of the secondary and final. Such a discrepancy between structures reflects the dialectic of Beethoven's sonata form; in the "dispute" of different principles, the dynamism of the form and its perception are born, since, listening, we notice this discrepancy.

So, in the exposition of the first part of the sonata, contrasting elements are contrasted only at the level of the thematic core and the theme of the main part as a whole. The remaining stages of movement at the level of exposure only use the result of these contrasting oppositions. This is where Beethoven's dramatic effectiveness comes into play.

EXPOSITION OF MOVEMENT I OF SONATA No. 17 BY L. VAN BEETHOVEN
Tonal Plan
Thematic row, letter
scale series	2+4+2+12 Summation	4+4+12 4+4+2+2+2+2+2+1+1 splitting up	4+4+6 1+1+2+1+1+2+1+1+4 summation	14+6+18 2+2+4+2+2+2+1+1+1+1+2+2+2+2+4+6 Summation and division with closure
Structural row, form definition	Period of 2 proposals, re-building, Period with deviations. The half cadenza ends with a D and the final one with a t. Period with extension by adding at the end of the recitative.	The construction of a developing type, built on the elements of G.P.	Period of 3 proposals of re-building, one-tone The 2nd cadence ends with t and the final one with t6.	period with additions. Monotone. There are Phrygian turnovers. The half cadence ends with t and the final one with D to the main key.
Functional row	Presentation of the 1st topic GP exposure	tie of the 1st theme (G.P.) Linking section of the expo	Statement P.P. exposure	Final section of the exposition
Final shape definition	The exposition of the I part of the sonata No. 17 by L. V. Beethoven was written according to the laws of the sonata form of Viennese classicism. G.P. - written in the form of a period. It sets out the main theme, which consists of 2 elements. The connecting section is built on the elements of G.P. The final section is similar to the period form with additions in the dominant key

Form-scheme 1. 2 Exposition of the I part of the sonata op. 31 #2 (#17)

The development is built on the first motive of the main part and the dialogizing linking part. At the end of development, the dominant predicate. The development can be divided into three sections. The first (bars 93-98) introduces the fanfare element of the main theme. It is performed three times (D6, dis um6, Fis6), providing colorful juxtapositions of the transition to the fis-moll key of the second section. The first section occupies 6 measures - they include 3 phrases of 2 measures each, built according to the type of periodicity. However, the forces of contrast contained in the core of the main party affect further. At the beginning of development, polarization of contrast occurs: the three quiet arpeggios of the first element (their tonal-harmonic positions greatly expand the scope of further development) are answered by the theme of the connecting part - the most dramatic active element of the exposition, reaching here, thanks to a higher compositional level, the ultimate intensity. The second section (bars 99-120) continues the development of the connecting section of the exposition, actually repeating it in a more dramatic form in fis-moll and leading to a climax in bars 119-120. The section takes 22 measures and consists of two sentences and 6 phrases and is built according to the type of crushing. The third section (bars 121-142) is a prelude before the start of the reprise, based on the dominant harmony to d-moll and swirling intonations that create the effect of slowing down the movement. The development ends with a series of chords on the dominant bass, outlining the upper tetrachord of the harmonic d-moll, and a descending octave monologue, anticipating the recitative of the main part in the reprise.

So, the second section of the I part of the seventeenth sonata by L. van Beethoven is of a developmental nature. It is based on the development of the first element of the main party and the connecting section of the exposition. It ends with a prelude to a reprise on the dominant function to the main key. The development of the I part of the seventeenth sonata by L. van Beethoven is an example of the existence of a form of a moving period (sentence), but it turns into a free development of the developmental type itself. This applies to the greatest extent to developments of dramatic content, unfolding from large constructions to small ones and receiving generalization in a vivid melodic form. Such a decrease in structural elements plays an inhibitory role, being located on the pre-reprise organ point.

DEVELOPMENT OF PART I OF SONATA No. 17 BY L. VAN BEETHOVEN
Tonal Plan
Thematic row, letter
scale series	2+2+2 periodicity	4+4+14 4+4+2+2+2+2+2+2+1+1 splitting up	4+4+4+10 summation
Structural series, shape definition	The construction has an introductory character, based on the theme of G.P.	The construction continues the development of the connecting section of the exposition. The form is like a period.	Building a developmental character
Functional range	Varied presentation of the 1st element of G.P. introduction	Development of the connecting theme of the exposition	Preface to reprise
Final shape definition	The development of the 17th sonata by L.V. Beethoven has a developmental character. Based on the development of the first element of the G.P. and the connecting section. It ends with a prelude to a reprise on the dominant function to the main key.

Form-scheme 2. 2 Development of the I part of the sonata op. 31 #2 (#17)

Reprise. All the themes in it are modified, especially the main party, to which new elements are added: two expressive lyrical-psychological recitatives, stated in one voice, as if speaking in the first person. Hence the name of the sonata - "sonata with recitative". The side part and others are already set out in the main key of d-moll with deviations. The main part and the connecting section in the reprise are carried out with changes. These sections are the culminating zone of the form. The recitative in the recapitulation, as an element of a through dramatic action in the zone of the main part, also leads to an update of the binder. Only the side and final parts are given in accordance with the norms of the sonata form, thanks to which the general movement is evened out.

In the main part (from bars 143 to 149), the main emphasis is on the dramatic recitative, which is an extension of the first element (arpeggiated sixth chord) of the main part of the exposition. The main part is written in the key of d-moll and in the form of a period. The period is 16 cycles. The first sentence is extended to 10 bars. Of these, 6 measures are a long phrase, then 4 measures are the next phrase with a half cadence on the dominant. The second sentence consists of only one phrase (6 measures), which breaks off in recitative, passing immediately to the ostinato chords of the connecting section. There is no final cadence. The period has a splitting type with a closure. The period is monophonic, of repeated structure, since both sentences begin in the same way, only from different sounds.

The linking section (bars 150 to 170) is reduced to 12 bars and new material is introduced, keeping a distant connection with the first (fanfare) and third (chord) elements of the main part. The whole section is built as a dialogue in two measures of these transformed intonations with the structure (4 + 4 + 4) - a type of periodicity. The first element, which was characterized by an upward movement along the chord sounds - here becomes stormy waves of arpeggios through the entire range. Of the connecting section of the exposition, only the triplet rhythm is preserved in the reprise, but it also changes to faster durations on the last beat (sixteenths or sextuplets). The third element, marching chord sounds, appear in their extreme quality - in the form of an even, ostinato repetition of four chords in a low register. This is the culminating section of the form, where the destruction of the main (personal) thematism takes place, its disappearance, and the remaining elements acquire the maximum degree of generalization, impersonality. Tonally, the movement goes through fis-moll, G-Dur and two diminished chords leading to a side part in the main key.

The side part (from bars 171 to 184) is played in the main key (d-moll) with virtually no changes. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). Signs of such a period are that it has 3 cadences distant from each other. The first two sentences consist of two motives of 1 measure each and a phrase of 2 measures. The third sentence consists of 2 motifs of 1 measure each and a phrase extended to 3 measures. The period has a type of repeated structure, since each sentence begins the same way only from different sounds. The period is monochromatic. It has neither modulations nor deviations. The 1st and 2nd cadenzas end on the tonic, and the final cadenza ends on the tonic sixth chord. The harmony is simple, consisting of the tonic and the dominant (to a greater extent), set out in melodic figuration around the fifth degree, with the inclusion of seventh and none sounds.

The final section (from bars 185 to 228) is also played almost unchanged. A few measures are added only at the end - these are figurations-waves on a tonic triad in the bass against the background of a sustained tonic sixth chord, as if the concentration of the first element of the main part in the main key. It is written in the key of d-moll in the form of a period with additions. Has a scale within 44 bars. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of two measures and a phrase of 4 measures. It ends with a half cadenza on a tonic triad. It is built on the alternation of the tonic a-moll sixth chord and the Neapolitan sixth chord. The second sentence has a size of 6 measures, consists of three phrases of 2 measures. In the next sentence, this figure is clearly shown in a downward movement in parallel thirds, reminiscent of the main party. Size 6 measures, consists of 6 motives for 1 measure. The fourth sentence - 22 measures, consists of 4 motifs of 2 measures and a large phrase of 16 measures. This is where development slows down. The period of non-repetitive construction, since each sentence has its own new topic, not similar to the previous one. Monotone. The final cadenza ends on the tonic of the main key. The coda is replaced by a long sustained tonic harmony: since it almost did not sound throughout the Allegro, its impact is especially significant. It concentratedly reflects everything that happens in the first part and hears the answer to all the questions that arose in Allegro, the answer is deep, not reducible to any unambiguous formula.

As a result, we can say that the reprise of the seventeenth sonata by L. van Beethoven has the main part, which is modified by introducing a recitative to the first element, written in the form of a period. The connecting section, which is built on new material, only slightly resembles elements of the main part and side part. The side part is repeated without changes and is written in the form of a period of 3 sentences. The final section is also carried out without changes, only with the addition of several bars at the end, which replace the coda and are built on the tonic and tonic sixth chord. Written in period form with additions.

REPRISE MOVEMENT I OF SONATA No. 17 BY L. VAN BEETHOVEN
Tonal Plan
Thematic cue row or letter
	6+4+6 Crushing with closure	4+4+4 2+2+2+2+2+2 periodicity	4+4+6 1+1+2+1+1+2+1+1+4 Summirov	2+2+4+2+2+2+1+1+1+1+2+2+2+2+4+2
structures row, define form	Two sentence period enii, monophonic, repeated structure. The half cadence ends in D and concludes no body cadence	developmental character	Period of 3 proposals for rebuilding. single tone 2nd cadence ends Xia on t, and the final cadenza ends	period with additions. single tone ny. There are Phrygian revolutions. The half cadenza ends with t and the final The next cadence ends with t.
front row	Repeat G.P. exposure with viewism 1st element G.P. reprises	New material resembling main section of the reprise	Repeat unchanged P.P. exposure P.P. reprises	Building the final character.
Final definition form	The reprise of part I of the 17th sonata by L.V. Beethoven has a G.P., which is modified by introducing a recitative to the first element (hence one of the names of the sonata “sonata with recitative”). It has the form of a period of two sentences. The connecting section, which is built on new material, only slightly resembles elements of G.P.. The side part is repeated without changes and has the form of a period of 3 sentences. The final section is also carried out without changes, only with the addition of several bars at the end, built on t and t6. It has the form of a period with additions. At the end, a coda is added, which sounds on a tonic triad.

Form-scheme 3. 2 Reprise of the first part of the sonata op. 31 #2 (#17)

As a result of the analysis, it can be concluded that there are significant changes in the reprise and exposition, primarily in the sphere of the main part, but also stable elements in the sphere of the connecting and side part. In the sonata allegro of the seventeenth sonata, there are only three full cadenzas - the end of the main part (at the level of exposition), the exposition (at the level of the form as a whole), of the entire sonata form (at the level of the sonata cycle). In other words, only the initial expositional sections of each of the three levels are clearly completed, the other facets of the form are blurred by the continuity of development, the source of which is dramatic effectiveness. But in this case, the implementation of this principle is combined with another major formative trend. In this continuous fluidity of musical movement, in the absence of contrasting oppositions outside the main party, the principle of self-movement is manifested, which played a leading role in J. S. Bach and many other composers of the Baroque era and became the most important factor in shaping in the late period of L. van Beethoven's work. The first part of L. van Beethoven's sonata No. 17 has a high degree of theatricality, a bright, dramatic development of the main intonations. This is achieved due to the through development of intonations and the dialogic nature of their combination with each other. When L. van Beethoven was asked what his music was about, he replied: "Reread Shakespeare's The Tempest."

Second part. Adagio. B-dur, sonata form without development. Like the first movement, it begins with an arpeggio. The main theme uses the technique of dialogue-roll call. This movement is one of two examples of sonata form without elaboration in the group of analyzed works - already from the second sentence of the main theme suggests the possibility of variation, and it is realized in the reprise. The reprise as a whole also appears as a reprise-variation. Thus, the form of the sonata without development is subject to the basic principle of variation. In the secondary theme of the Adagio, with its reliance on the fifth and the singing of the III step from below and I and VI from above, Russian intonations are heard. The second movement from the seventeenth sonata follows the general principle of Beethoven's slow movements in the sense of carrying out the main theme in the coda (bars 89 - 98). Invisible ways are connected with the side part of the first part, full of aching anguish and plaintivity.

The third part. allegretto. d-moll. Sonata form based on figurative and musical-thematic unity. A new version of the development of the main thematic intonations, closeness to the prelude genre. In the finale of the seventeenth sonata, the unity of movement of the main and secondary parts is facilitated by the fact that the latter begins on the dominant from the dominant, demonstrating its striving forward, towards the cadence of the exposition. Fluidity is a trick that applies, of course, to the entire finale. It is necessary to highlight a very important structural feature - the holding of the main theme in the code, as a factor of the final character. It creates an inclination towards the rondo form, which has already been encountered in its various manifestations. If the inclination towards sonata form is formed at the beginning of the form, in its expositional section, then the inclination towards rondo in works with sonata form is noticed towards the end, after the sonata structure has been determined: exposition - development - reprise. The final introduction of the main theme in this case has a rounding significance. But this, apparently, also affects the connection with the long tradition of writing finals in the form and even in the rondo genre. It was to her that L. van Beethoven himself often followed, especially in the early period of his work. This tradition obviously left its mark on the sonata finales.

The inclination towards the rondo is enhanced if the main theme, with the preservation of the structure (in whole or in part), is also in development, then a total of 4 passages are formed, clearly showing the rondo-likeness in sonata form. The finale of the seventeenth sonata also provides an example of holding the main theme in the coda. It is curious that the conduct of the main theme in the code completely coincides with the exposition, while the reprise differs from it. It is important to emphasize the similarity of the extreme conducts: they border the form, thus reminiscent of the dacapo principle found in various ancient forms.

Typical features of classical sonata form:

The exposition mainly consists of tonic-dominant turns. The subdominant often appears only in the cadence (since it can shake the dominance of the tonic), deviations are rare.

The main part determines the main content of the musical form. It, like the grain of the whole work, in most cases is carried out without major changes: it is in the exposition for the first time and is being developed. The main part always ends in the main key, with a cadenza on the tonic or dominant.

The linking party is a transitional section. It is a gradual intonational preparation for the side part.

The shape of the side batch is free and allows many variations. However, it should be noted that under the influence of relative harmonic freedom, these forms often lose their squareness due to additions, extensions, etc. There is often a rhythmic renewal of the side part. Enlargement of durations and slowing down of movement are characteristic. Less frequent is movement activation and shorter durations.

The final part should harmonically fix the new key. Often there is a multiple repetition of the cadence turnover or the presence of a tonic organ point.

Development is a big move between the extremes (exposure and reprise). In the process of development, modulations in various keys occur. The path of these modulations, like many other qualities of development, is not regulated. Two main types of tonal movement are possible. If the development began in the key of the end of the exposure (or in the same name) - gradual modulations to more and more distant from the original key and at the end of the development return to the main key.

The reprise - the third major section of the sonata form - reduces the tonal difference of the exposition to unity (this time the side and final parts are presented in the main key or approaching it). Since the connecting part must lead to a new key, it usually undergoes some kind of processing.

Code - an additional section of the form. Its function is the generalization of the material, the approval of the result, the “conclusion” of the entire work.

Individual features of the sonata form of the sonata op. 31 #2 (#17):

The main part of the exposition is built on two elements (like a question - an answer). The main emphasis is on dramatic recitative (for the first time in music, Beethoven uses it in the thematic of the main part), which is an extension of the first element (an arpeggiated sixth chord). The second element consists of only one phrase (6 measures), which breaks off in recitative, passing immediately to the ostinato chords of the connecting section. There is no final cadence. In the main part of the exposition of the seventeenth sonata, there is a deviation from the main key to the parallel F-dur. The main part is written in period form. The main key is d-moll.

The connecting section is built on the elements of the main party. Written in the key of d-moll with modulation in a-moll. The theme of the linking part is brightly individual, but has an intonational affinity with the main part.

The theme of the side part unfolds in short, excited chants and at an allegro tempo. The holding of her second new theme is a new version of the development of elements of the main party. It has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). Written in the key of a-moll.

The final cadenza ends on D to the main key. In this section, against the background of swirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian revolution from the note mi. The same revolution in octave unison completes the exposition. The final part was written in the key of a-moll and has the form of a period with additions.

The development is based on the development of the first element of the main part and the connecting section. The tonal movement of the development of the first part of Sonata No. 17 is presented in such a way that if the development began in a distant key by comparison, then there is a gradual return to the main key. It ends with a prelude to a reprise on the dominant function to the main key.

The reprise has a modified main part - a recitative is introduced to the first element. The connecting part only slightly resembles elements of the main part - it is built on new material. The side and final games are played almost unchanged. The main key is d-moll with deviations.

The coda is replaced by a long sustained tonic harmony: since it almost did not sound throughout the Allegro, its impact is especially significant.

The individuality of this sonata is emphasized, first of all, by the unique, brightly expressive, inimitable, thematic appearance of each of its sections.

The sonata was written by the composer in the early period of the composer's work. The work is dedicated to Joseph Haydn. The sonata consists of 4 parts, each of which sequentially reveals the dramaturgy of the development of the image.

Throughout each of the four parts of the sonata, its life-affirming concept is consistently revealed and affirmed. Positivity, optimism and love of life - these are the features that most fully characterize the figurative side of the work of the older "Viennese classic" - Joseph Haydn. And behind the main tonality of the sonata - A-dur, the meaning of "light", graceful tonality was semantically fixed.

I part of the cycle - according to the tradition of the classics, written in the form of Sonata Allegro. The ratio of images of G.P. and P.P. typical for the work of L.V. Beethoven. G.P. is active and upbeat. P.P. sets off G.P. with grace and playfulness. The sound of both themes in the main key in the reprise section of the 1st movement brings the two images closer in sound.

Part II - Largo appassionato (D-dur) - introduces a contrast, reveals new emotional facets of the work. The main theme is impetuous, passionate, it undergoes continuous development and comes to its climax at the end of the movement.

This work consists of 4 parts, which testifies to the convergence of the sonata and symphony genres in the composer's work.

III part - Scherzo. As mentioned above, L.V. Beethoven made changes to the composition of the sonata-symphony cycle of his works. One of the innovations was that instead of the Minuet in the 3rd part of the cycle, the composer uses the Scherzo, thereby expanding the range of images of both the 3rd part itself and the work as a whole. Such is the structure of the 3rd movement of this sonata.

The scherzo has a playful, playful character. It is based on 2 images that shade each other.

The III part of the sonata is written in a complex three-part reprise form with a trio in the middle part.

The I part of the complex form is a simple three-part two-dark reprise form.

Part II (trio) - a simple three-part one-dark reprise form.

Part III - exact reprise (da capo).

Part I (bars 1-45) - written in a simple three-part two-dark reprise form. Its function is to expose and develop the main theme ("a"). The theme "a" has a scherzo, playful character.

1 part of a simple three-part form (bars 1-8) - a square period of a varied-repeated structure, consisting of 2 sentences.

Middle cadenza (4 measure) - half, incomplete: II2#3 - II43#3-II65#3 - D53.

Final cadenza (bars 7-8) - incomplete, perfect: D7 - T53.

In general, the period exhibits the main theme - "a".

The main key of the 1st movement is A-dur (as is the main key of the entire sonata). The tonal-harmonic plan of the 1st part of a simple form is simple and static (this is dictated by the expositional type of presentation), based on harmonic revolutions (plagal, authentic, full) of classical harmony using chords of a tertian structure.

In the 1st sentence, the main key is asserted due to a full harmonic revolution with the inclusion of altered chords of the S-group:

1 measure 2 measure 3 measure 4 measure

T53 T53 II2#3 II43#3 II65#3 D53

• The 2nd sentence also establishes the main tone, using bright authentic phrases:
• 5 beat 6 beat 7 beat 8 beat

• 1 part of a simple form is characterized by a rarefied texture. The main expressive grain of the theme "a" is the timbre-spatial ratio of 2 elements of the theme (the active element with sixteenth durations in the upper register and dense chords in the lower register).
• Part 2 of a simple three-part form (bars 9-32) - has a double function: the development of the theme "a", the exposure of the theme "b" shading the theme "a". That. Part 2 has the structure of a free construction, in which 2 stages of development can be distinguished:
• Stage 1 (bars 9-19) - develops the theme "a". Development occurs by varying the main theme and its motivated development. Varying, the theme "a" is carried out in different keys, which leads to the flexibility of the tonal-harmonic plan.
• 9 beat 10 beat 11 beat 12 beat 13 beat 14 beat 15 beat 16 beat

D53 D7 D53 (VI) D VI53 III53= s53 D65 D7

17 beat 18 beat 19 beat

D7 - t53 t6 - s53 t64 - D7.

Based on the above bar-by-bar harmonic analysis, we can conclude that on the verge of 1-2 stages of development of the 2nd part of a simple form, modulation occurs in the tonality of the 7th step (gis-moll). The transition to a new key is carried out by equating the chord III53=s53.

The change of tone marks the appearance of the next round of development. Stage 2 begins (bars 20-25) - a new theme “b” appears in it, which by its nature sets off the theme “a”: against the background of moving Albertian basses, a cantilena melody sounds.

Lado - harmonic development does not go beyond the new tonality (gis-moll). Its approval takes place through full and authentic revolutions:

20 beat 21 beat 22 beat 23 beat 24 beat 25 beat

t53 D43 t6 VII64 t53 II6 t64 D53 t53 D43

• Part 2 ends with an open authentic cadence (t53 - D43).
• Bars 26-32 are the preface, the preparation of the reprise of the I part of a complex form. The role of the predicate is also to return the key of A-dur, in which the reprise will sound. The intensity of the sounding of the pre-excitation is due to the frequent change of the harmonic pulse, a chain of deviations, which gradually return the harmonic development to the main key.
• 26 beat 27 beat 28 beat 30 beat 31 beat 32 beat

t6 D7 VI53=D53 D7 s 53 D43

The reprise of the I part of a complex three-part form comes after a general pause.

The reprise (bars 33-45) is extended (with a four-bar addition). The presence of such an addition after the cadenza is one of the features of L.V. Beethoven. In general, the reprise is accurate with the statement (in addition) of the main thematic elements of the image "a".

Part I of the complex three-part form ends with an incomplete, final, perfect cadenza:

42 beat 43 beat 44 beat 45 beat

The second part of a complex three-part form is a TRIO.

The characteristic features of the trio include:

• - thematic design
• - clear structure (simple three-part form)
• - the presence of the main tone.

The trio is written in the same key (a-moll), which is introduced without a gradual transition, by comparison.

Structurally, the II part of a complex three-part form is a simple three-part one-dark reprise form.

Part 1 of the trio (bars 1-8) is a square, open period of a varied-repeated structure.

Middle cadenza (4 measure) - half, incomplete cadence (D43 - D2).

Final cadenza (bars 7-8) -

complete, final, perfect (e-moll):

7 measure 8 measure

s53-t64-D7t53

The function of part 1 of the trio, therefore, is to expose (1st sentence) and develop (2nd sentence) the theme "c" (the main theme of the Trio).

The theme "s" is of a song, cantilena character. It is homogeneous in structure: the melodic line is set out in even durations against the background of Albertian basses. The undertone in the middle voice creates bright harmonic combinations. The mobility of the bass voices provides a frequent change of harmony (for each beat of the bar), forming passing harmonic revolutions:

1 measure 2 measure 3 measure 4 measure

t53 - D64 - t6 VII64g - t6 - D64 t53 - D64 - t6 VII64g - t6 - D64

5 beat 6 beat 7 beat 8 beat

t53=s53 - t6 - D43 t53 - II 53 - t6 s53 - t64 - D7 t53

Based on bar-by-bar harmonic analysis, we can conclude about the features of the harmonic development of the 1st part of the trio.

The harmonic development of the 1st sentence does not go beyond the framework of the main key and is aimed at its affirmation, which occurs through authentic phrases. The developing nature of the 2nd sentence of the 1st part of the trio led to a greater mobility of harmonic development. The impetus for it is the modulation in measure 5 into the key of the minor dominant (e-moll), in which the final cadence will be performed.

• The 2nd part of the trio (bars 9-16) has the structure of a square period of a single structure. It sounds in the key of a parallel major to the main key of the trio (C-dur), which is introduced without preparation, by comparison. The function of part 2 of the trio is the development of the theme "with".
• Movement 2 ends with an open incomplete cadenza in the main key of the trio (a-moll).

The harmonic development of the 2nd part of the trio can be divided into 2 stages. Stage 1 (bars 9-11) - approval of the new key:

9 measure 10 measure 11 measure

T53 - D64 - T6 D2-T6 - D43 T53 - D64 - T6

• Stage 2 (bars 12-16) - a gradual return to the key of a-moll:
• 12 measure 13 measure

VII43 II6 VII65 II53 = S53 - t6 VII6

From bars 14 to 16, the downward movement of the basses in octaves leads to the final open cadenza.

3rd part of the trio (bars 17-24) - is a varied reprise. The variation concerns, first of all, the 2nd sentence of the reprise. The melodic line is duplicated in an octave. The tension in the sound of the reprise is also given by the fact that almost the entire 3rd part is sustained on the dominant organ point, which creates a tense expectation of resolution.

The trio ends with a final, perfect cadenza (bars 23-24): t53 - II6 - D7 - t53.

After the trio, there is a note from the composer: "Scherzo D.C." This means that the third part of the complex three-part reprise form exactly repeats the first part, thereby asserting the primacy of the main image of the Scherzo - the theme "a" and creating symmetry for the work.

Part IV of the sonata A-dur op. 2 No. 2 completes the figurative development of the entire work, summing it up. It is written in the form of a rondo, where the main theme of the refrain has a playful, graceful character, set off by a number of active, dynamic episodes.