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Composer: Ludwig van Beethoven
Artist: Alfred Brendel (piano)
For many collectors in the 1960s, the budget priced Vox Turnabout LPs of the Beethoven Sonatas and Concertos were a revelation, and introduced an amazing young talent to the public.
Alfred Brendel was born in 1931 in Wiesenberg, and won the Concorso Busoni in 1949. He studied with Edwin Fischer, Paul Baumgartner and Edward Steuermann. The Vox Beethoven recordings won the Grand Prix du Disque in 1965, and were praised by critics world-wide.
These early recordings illustrate clearly all the characteristics that would become a hallmark of Brendel’s playing. A refusal to fall back on ‘flashy’ bravura, and the intellectual rigour he brings to the Beethoven sonatas marked him out even in these early recordings as one of the very great pianists of the 20th century. Brendel retired from the musical scene in 2009 at the height of his powers, leaving a recorded legacy without parallel in the music of Beethoven, Mozart and Schubert.
Tracklist can be found in the description!
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Piano sonatas (Beethoven) – Wikipedia
Ludwig van Beethoven wrote 32 mature piano sonatas between 1795 and 1822. (He also wrote 3 juvenile sonatas at the age of 13 and one unfinished sonata, WoO.
Source: en.wikipedia.org
Date Published: 2/26/2022
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Piano Sonata – Beethoven – NhacCuaTui
Playlist | Album · Chopin: Piano Sonata No. 2 & Ballades Nos. 1-4 (Remastered) · Robert Casadesus, Chopin · Schumann: Symphonic Etudes For Piano – Beethoven: …
Source: www.nhaccuatui.com
Date Published: 6/20/2021
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Các bản piano sonata tuyệt hay của Beethoven – Tinhte
Những bản piano sonata đáng chú ý nhất và sớm nhất của Beethoven gồm Op.2 No. 1 In F Minor, Op. 7 In E Flat Major và Op. 10 No. 3 In D Major đều có mang chút …
Source: tinhte.vn
Date Published: 11/15/2021
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Template:Piano Sonatas (Beethoven, Ludwig van) – IMSLP
Template:Piano Sonatas (Beethoven, Ludwig van) ; Piano Sonata No.17 in D minor, Op.31 No.2 (“The Tempest”) ; Piano Sonata No.18 in E-flat major, Op.31 No.3 (“The …
Source: imslp.org
Date Published: 12/28/2021
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Beethoven Piano Sonatas | musical compositions – Britannica
Beethoven Piano Sonatas · 1 in F Minor, Op. 2, No. 1 (1796) · 2 in A Major, Op. 2, No. 2 (1796) · 3 in C Major, Op. 2, No. 3 (1796) · 4 in E-flat …
Source: www.britannica.com
Date Published: 4/5/2021
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Beethoven: Sonata piano số 8 “Pathétique” – nhaccodien
Sonata piano số 8 là tác phẩm hiếm hoi có tên gọi ngay khi Beethoven còn sống và được ông chấp nhận. Grande Sonate pathétique là cái tên xuất hiện trên ấn phẩm …
Source: nhaccodien.vn
Date Published: 9/15/2022
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Beethoven’s Piano Sonatas: John Suchet’s guide to the music
Of all the musical genres (that word again), the Piano Sonata is the only one that Beethoven worked on more or less consistently throughout his life.
Source: www.classicfm.com
Date Published: 1/14/2022
View: 409
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Piano sonatas (Beethoven)
Piano sonatas written by Beethoven
Ludwig van Beethoven wrote 32 mature piano sonatas between 1795 and 1822. (He also wrote 3 juvenile sonatas at the age of 13[1] and one unfinished sonata, WoO. 51.) Although originally not intended to be a meaningful whole, as a set they comprise one of the most important collections of works in the history of music.[2] Hans von Bülow called them “The New Testament” of piano literature (Johann Sebastian Bach’s The Well-Tempered Clavier being “The Old Testament”).[3]
Beethoven’s piano sonatas came to be seen as the first cycle of major piano pieces suited to both private and public performance.[2] They form “a bridge between the worlds of the salon and the concert hall”.[2] The first person to play them all in a single concert cycle was Hans von Bülow; the first complete recording is Artur Schnabel’s for the label His Master’s Voice.
List of sonatas [ edit ]
Juvenilia [ edit ]
The first three sonatas, written in 1782–1783, are usually not acknowledged as part of the complete set of piano sonatas because Beethoven was 13 when they were published.[4]
Early sonatas [ edit ]
Beethoven’s early sonatas were highly influenced by those of Haydn and Mozart. Piano Sonatas No. 1, 2, 3, 4, 7, 11, 12, 13, and 15 are four movements long, which was rather uncommon in his time.
Piano Sonata No. 19 in G minor Piano Sonata No. 20 in G major
Middle sonatas [ edit ]
After he wrote his first 15 sonatas, he wrote to Wenzel Krumpholz, “From now on, I’m going to take a new path.” Beethoven’s sonatas from this period are very different from his earlier ones. His experimentation in modifications to the common sonata form of Haydn and Mozart became more daring, as did the depth of expression. Most Romantic period sonatas were highly influenced by those of Beethoven. After his 20th sonata, published in 1805, Beethoven ceased to publish sonatas in sets and published all his subsequent sonatas each as a single whole opus. It is unclear why he did so.
Opus 31: Three Piano Sonatas (1802)
Opus 90: Piano Sonata No. 27 in E minor (1814)
Late sonatas [ edit ]
Beethoven’s late sonatas were some of his most difficult works and some of today’s most difficult repertoire. Yet again, his music found a new path, often incorporating fugal technique and displaying radical departure from conventional sonata form. The “Hammerklavier” was deemed to be Beethoven’s most difficult sonata yet. In fact, it was considered unplayable until almost 15 years later, when Liszt played it in a concert.
Performances and recordings [ edit ]
In a single concert cycle, the whole 32 sonatas were first performed by Hans von Bülow.[5] A number of other pianists have emulated this feat, including Artur Schnabel (the first since Bülow to play the complete cycle in concert from memory), Roger Woodward,[6] Rudolf Buchbinder and Michael Houstoun, who has performed the full sonata cycle twice; first at the age of 40, and then 20 years later in 2013.[7] Claudio Arrau performed the cycle several times.[8]
The first pianist to make a complete recording was Artur Schnabel, who recorded them for the British recording label His Master’s Voice (HMV) between 1932 and 1935.[9][10][11] Other pianists to make complete recordings include Claudio Arrau,[12] Paul Lewis, Daniel Barenboim, Jean-Efflam Bavouzet, Mari Kodama, Alfred Brendel, Vladimir Ashkenazy, Maurizio Pollini, Richard Goode, Igor Levit, Anton Kuerti, Eduardo del Pueyo, Konstantin Scherbakov, Boris Giltburg and others.
References [ edit ]
The Best Beethoven Piano Sonatas: What You Should Know
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Beethoven composed some of the best piano sonatas ever written. His 32 sonatas are a cornerstone of piano music, and even if you don’t get around to playing all of them, every pianist should understand their importance.
After all, Beethoven is one of history’s greatest musicians. Chances are, you’ve heard of him since you were a child. And his influence extends to the music we enjoy today, including rock, pop, jazz and more.
Today (December 17) is Beethoven’s baptism day. So let’s take a look at some of the best Beethoven piano sonatas and what makes them legendary.
But first, let’s explore what a sonata is.
What is a sonata?
A sonata is a multi-movement musical work, usually for a solo instrument. “Sonata” comes from the Italian sonare (“to sound”). This type of composition has been around in some shape or form since the 1500s, but it really crystallized in the 18th century, and it’s especially associated with Haydn and Beethoven. The movements of a sonata use keys that are related to one another and there are conventions for tempo and structure. The title page to “Moonlight” sonata (Sonata No. 14, Op. 27, No. 2).
Typically, at least one movement is in sonata-allegro form, a structure with three major parts with these conventions:
In the exposition, the sonata states two themes with a transition between them. The first theme is written in the home key and, if it’s major, the second theme is in the dominant key. If it’s minor, the second theme happens in the relative minor. The exposition ends with a section called the codetta. Next, the themes undergo transformation in the development section. This includes modulations, sequencing, variation, and other forms of exploration. Finally, we hear the themes restated in the recapitulation section, ending in a coda.
Now, Beethoven didn’t invent the sonata, but he did revolutionize the form.
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The Best of Beethoven Piano Sonatas
Beethoven famously wrote 32 sonatas over the course of his career. These sonatas are nicknamed the “New Testament” of piano music to highlight their importance. (Bach’s 48 preludes and fugues are considered the “Old Testament.”)
You can trace the evolution of Beethoven’s sonata style as you move from Sonata No. 1 to Sonata No. 32. The composer’s earlier works were influenced by his teacher Franz Haydn and are more conventional. But his later sonatas are more experimental, influenced by another mentor: Johann Georg Albrechtsberger. Some of Beethoven’s later sonatas even have fugue-like sections. In this article, we’ll explore some of Beethoven’s most well-known sonatas: “Pathétique,” “Moonlight,” “Waldstein,” “Appassionata,” and “Hammerklavier.” A lecture that traces Beethoven’s evolution in style using his first. and last sonatas as examples.
Piano Sonata No. 8 in C Minor, “Pathétique” (O. 13, No. 8)
Daniel Barenboim plays all three movements of Piano Sonata No. 8, Op. 13.
Historians organize Beethoven’s career into the Early, Middle, and Late periods. “Pathétique” comes from the Early period, while Classical conventions were still very much in vogue. As such, “Pathétique” follows these conventions quite faithfully.
Most of Beethoven’s sonatas weren’t named by the composer himself, but he may have named this one “Pathétique.” Or, it may have been his publisher’s doing (we’re not sure). The full subtitle to this work is “Grande donate pathétique.”
C Minor is a particularly moody key, and Beethoven would use it again in Symphony No. 5 (the famous “duh-duh-duh dum” symphony). He may have also been influenced by Mozart’s Piano Sonata No. 14, which was also in C Minor.
For Beethoven, the sonata form is not a scheme that can be used in caprice one day and abandoned the next. This form dominates everything he imagines and composes; it is the very mark on his creation and the form of his thought – an inherent form, a natural one. Edwin Fischer, conductor and composer
Piano Sonata No. 14 in C-Sharp Minor, “Moonlight” (Op. 27, No. 2)
Valentina Lisitsa plays all three movements of the “Moonlight” sonata (Sonata No. 14).
“Moonlight” is perhaps the most famous of Beethoven’s sonatas. It was another Ludwig — Ludwig Rellstab, a music critic — who likened the slow, dramatic arpeggios of the first movement to flickering moonlight. Rellstab’s nickname for the piece has stuck ever since, but originally, both sonatas in Beethoven’s Op. 27 bore the subtitle “quasi una fantasia” (“in the style of a fantasia.”)
“Moonlight” breaks sonata conventions with a slow, first movement. Typically, sonatas open with a faster, more upbeat movement, but the adagio sostenuto is iconic…and it’s not that difficult to play! In fact, if you are an intermediate-level pianist, you can probably handle it. Check out our tutorial for free sheet music and a head start.
After the first movement, the mood flips into a cheerful, short allegretto second movement before ending on the explosive presto agitato. That final movement is legendary and is sure to impress. Like the first movement, its theme is based on arpeggios, but played in a way that requires an expert level of dexterity.
Piano Sonata No. 21 in C Major, “Waldstein” (Op. 53)
All three movements of the “Waldstein” sonata performed by Claudio Arrau.
Ferdinand Ernst Gabriel, the Count von Waldstein, was a friend and patron of Beethoven. He once wrote to the composer: “With the help of unceasing diligence, you will receive the spirit of Mozart from the hands of Haydn.”
Compared to the previous 20 sonatas, “Waldstein” is more technically challenging. Interestingly, all three movements start pianissimo (very soft) and the sonata has been described as having an “orchestral texture.” The stylish runs and flairs that open up the first movement foreshadow the technical prowess to come, and the second movement is based on a Rhenish song.
At the time of writing the “Waldstein,” Beethoven had just received a piano from the Parisian piano-maker Érard. This piano may have affected the unusual pedal markings of this sonata.
I shall seize fate by the throat; it shall certainly never wholly overcome me. Beethoven: Letter to Franz Wegeler about his growing deafness
Piano Sonata No. 23 in F Minor, “Appassionata” (Op. 57)
Anastasia Huppmann plays Piano Sonata No. 23 in full.
Beethoven considered “Appassionata” his greatest sonata of all. The title “Appassionata” itself was coined by a publisher 30 years after the sonata’s original release.
This sonata is full of surprises: sudden dynamic shifts, dramatic pauses, and quick trills keep the listener engaged. This is a challenging piece, but it’s also very visual. Carl Czerny, a student of Beethoven’s, suggests imagining a stormy night at sea with a person crying for help in the distance. “Then such a picture will give the pianist a guide to the correct playing of this great tonal painting.”
Interestingly, this sonata was dedicated to Franz von Brunsvik, who was more of a cellist than a pianist, though he came from a family of piano players.
Piano Sonata No. 29 in B-Flat Major, “Hammerklavier” (Op. 106)
The “Hammerklavier” sonata played on a fortepiano similar to the one Beethoven may have used.
The title of this sonata conjures up a ferocious image of hammers pounding on a keyboard, and its opening chords further portray this visual. But “hammerklavier” is simply the German word for “piano.” Beethoven wrote this sonata in the midst of a deep depression, when he was suffering creatively. Then, the English piano-maker Broadwood shipped him a brand new piano — its largest and strongest — and this re-ignited in Beethoven a new desire to compose.
The L.A. Philharmonic Orchestra describes this sonata as “thrilling for the audience and treacherous for the pianist.” Like “Appassionata,” this sonata has dramatic shifts in dynamics and mood. The first movement is majestic and triumphant, the second playful, and the third tragic. But the fourth and final movement (yes, this sonata has four movements!) is more experimental and fugue-like.
Music is a higher revelation than all wisdom and philosophy. Beethoven: reported in a letter from Bettina von Arnim to Goethe
Listening to Sonatas
Sonatas can have a barrier to entry, but knowing a few contextual facts can help you appreciate them. Pick a sonata that catches your ear, then dive into its history and its structure. Watch a dynamic performance by your favorite pianist, and don’t feel obligated to listen to all movements at once. Take your time.
Then, when you’re ready, try playing one of Beethoven’s best piano sonatas one day.
Sources & Further Reading
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Playing Beethoven’s Piano Sonatas Changed How I Hear Them
These works took the sonata genre to a new dimension: multi-movement, episodic and often fitful, yet also ingeniously integrated. The pieces abound in challenges that were unprecedented for their time and remain daunting. So much the better, Beethoven believed. He once told a publisher, “What is difficult is also beautiful and good.” He wanted pianists to sweat.
The coronavirus pandemic silenced the burst of many Beethoven performances that had been scheduled this year, the 250th anniversary of his birth. But while live concerts may be few, the sonatas have been well served in the recording studio. Numerous pianists — including Alfred Brendel, Daniel Barenboim, Maurizio Pollini, Annie Fischer, Andras Schiff, Richard Goode and, more recently Paul Lewis — have released distinguished cycles. The best performances bring out not just the structural designs of the sonatas, but also their wildness and fearsome intensity. Whole movements exude wry, sometimes downright silly humor. And yet Beethoven also touches mystical sublimity, as in the final minutes of the last sonata.
In recent years, I’ve been drawn to performances by younger pianists who cut through the “masterpiece” trappings and dare to make personal statements. The latest is Igor Levit, whose nine-disc survey was released last fall by Sony Classical. He was only 25 when he recorded the five late sonatas in 2013 for his Sony debut. Over the past few years, he filled in the other 27.
It’s an extraordinary achievement. His accounts abound in vitality, clarity and a visceral feeling for drama. In reflective passages, his playing can be raptly restrained and tender, as in the opening movement of the Sonata No. 28 in A (Op. 101). Below the bittersweet, undulant surface of this music, as Mr. Levit reveals, Beethoven compresses an expansive sonata structure into less than four and a half minutes.
The Easiest Beethoven Piano Pieces (Beginner to Intermediate)
Last month I did a video on the Easiest Chopin Pieces (even though there’s really no such thing as an easy Chopin piece), and it went over well – so today I’m going to follow the same format and do a video on the easiest Beethoven pieces.
The thing about Beethoven is that, though his sonatas are crazy-difficult (we’ll get to that in more depth later), he has a bunch of short works that are doable even for a beginner, as well as some good intermediate-level works.
There’s a Beethoven for every level!
Easiest Beethoven: Categories
So we’ll start by grouping his pieces into categories:
Ecossaises
German Dances
Bagatelles
Sonatas
Variations
Beethoven wrote other piano pieces, some quite famous (like “Rage Over a Lost Penny”), so if you don’t see a piece you love included here, it’s because:
It wasn’t originally written for piano (Such as his National Folk Songs, op. 107)
It’s not as common (like his sonatinas – I generally don’t teach those, opting for Mozart instead)
It’s way too difficult (like his Rondos, or Rage)
Beethoven’s Ecossaises
Beethoven’s Ecossaises are very approachable for a beginner, as they’re all around a grade 1-2 level. Grade 1 level isn’t an absolute beginner – you need to have a good grip on the basics – but still, these are among the first Beethoven pieces you can attempt.
Beethoven’s Easiest Ecossaises: (Some favorites)
Ecossaise in Eb Major, WoO 86 – Grade 1 RCM
Ecossaise in G Major, WoO 23 – Grade 2 RCM
6 Eccosaises, WoO 83 – Not in RCM Syllabus – but around the same level
look inside Dances for Piano
Piano Solo. Composed by Ludwig van Beethoven (1770-1827). Edited by Robert Forster. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: XVI and 69. Classical. Softcover. 88 pages. G. Henle #HN449. Published by G. Henle (HL.51480449).
German Dances
Beethoven has several collections of German dances that you can check out, but his most popular is probably his 12 German Dances, WoO 13.
Three of those dances are in the RCM syllabus, which I’ll list below – but any of the 12 will be around the same level. These pieces are at an early intermediate level.
Some easy Beethoven German Dances:
German Dance in E flat Major, WoO13 –Grade 4 RCM
German Dance No 1 in D major, WoO13 –Grade 5 RCM
German Dance No 5 in F major, WoO13 – Grade 5 RCM
look inside Dances for Piano
Piano Solo. Composed by Ludwig van Beethoven (1770-1827). Edited by Robert Forster. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: XVI and 69. Classical. Softcover. 88 pages. G. Henle #HN449. Published by G. Henle (HL.51480449).
Bagatelles
Beethoven wrote around 30 bagatelles, including the famous Fur Elise. They’re around a late intermediate level. Here are some of my picks.
Some Easy Beethoven Bagatelles (all intermediate-level):
Bagatelle in D major, op 33 no 6 – Grade 7 RCM
Bagatelle in G minor, op 119 no 1 – Grade 7 RCM
Bagatelle No. 25 in A minor, WoO 59 (Fur Elise) – Grade 7 RCM
Bagatelle in F major, op 33 no 3 – Grade 8 RCM
Bagatelle in E flat major, op 33 no 1 – Grade 9 RCM
Easy Beethoven Sonatas
Many of Beethoven’s Sonatas are extremely advanced, but I’ll show you the ones I think are the most doable, even though they’re at a late intermediate/early advanced level.
His Sonatas are definitely worth aspiring to, as they are some of the best piano pieces ever written. There are 32 sonatas in total – today we’ll be looking at his easiest 3.
If you consider individual movements, other sonatas will become more accessible. For example, I consider the first movement of Moonlight Sonata to be around a grade 7-8 level, but the third movement is ARCT. So you could always learn easier parts of sonatas, instead of the full thing.
Sonatas 19 & 20 are both very short, with only 2 movements, and are the easiest of his sonatas – they’re a good starting point.
His 25th Sonata has 3 movements, and is a little more challenging, but still one of the most doable Beethoven sonatas.
Some easy sonatas (Early-advanced level):
Sonata No. 20, Op. 49 No. 2 in G Major – Grade 8 RCM
Sonata No. 19, Op. 49 No. 1 in G Minor – Grade 8 RCM
Sonata No. 25 in G major, Op. 79 – Grade 9 RCM
look inside Piano Sonatas – Book I
Klaviersonaten. Composed by Ludwig van Beethoven (1770-1827). Edited by Bertha Antonia Wallner. Piano (Harpsichord), 2-hands. Urtext Editions. Pages: 283. Classical Period. Collection (softcover). With standard notation, fingerings, introductory text and thematic index (does not include words to the songs). 286 pages. G. Henle #HN32. Published by G. Henle (HL.51480032).
look inside Piano Sonatas – Book II
Klaviersonaten. Composed by Ludwig van Beethoven (1770-1827). Edited by Bertha Antonia Wallner. Piano (Harpsichord), 2-hands. Urtext Editions. Pages: 330. Classical Period. Collection (softcover). With standard notation, fingerings and thematic index (does not include words to the songs). 330 pages. G. Henle #HN34. Published by G. Henle (HL.51480034).
Variations
Some of Beethoven’s Variations are around the same level as his easiest sonatas, and are worth checking out. He has over 20 variations written – here are some of the easiest.
Some of Beethoven’s Easiest Variations (Early-Advanced level):
Six Variations on a Swiss Folk Song, WoO 64 – Grade 8 RCM
Nine variations on “Quant e piu bello”, WoO 69 – Grade 9 RCM
Six Variations on “Nel cor piu non mi sento”, WoO 70 – Grade 9 RCM
Six Easy Variations on an Original Theme, WoO 77 – Grade 9 RCM
look inside Beethoven – Favorite Piano Works
Schirmer’s Library of Musical Classics, Vol. 2071. Composed by Ludwig van Beethoven (1770-1827). Piano Collection. Classical. Softcover. 232 pages. G. Schirmer #LB2071. Published by G. Schirmer (HL.50486577).
List of Easiest Beethoven Piano Pieces
So now we’ll put all of those choices on a list, from easiest to most difficult. This list spans levels from Grade 1 all the way to Grade 9. And, of course, if you’re an advanced piano player, you can carry on to his more difficult sonatas and variations.
All of the pieces I’ve included on this list are from the RCM syllabus, just for convenience and accuracy.
Beginner Beethoven Piano Pieces:
Ecossaise in Eb Major, WoO 86 – Grade 1 RCM
Ecossaise in G Major, WoO 23 – Grade 2 RCM
Intermediate Beethoven Piano Pieces:
German Dance in E flat Major, WoO13 –Grade 4 RCM
German Dance No 1 in D major, WoO13 –Grade 5 RCM
German Dance No 5 in F major, WoO13 – Grade 5 RCM
Bagatelle in D major, op 33 no 6 – Grade 7 RCM
Bagatelle in G minor, op 119 no 1 – Grade 7 RCM
Bagatelle No. 25 in A minor, WoO 59 (Fur Elise) – Grade 7 RCM
Early Advanced Beethoven Piano Pieces:
Bagatelle in F major, op 33 no 3 – Grade 8 RCM
Sonata No. 20, Op. 49 No. 2 in G Major – Grade 8 RCM
Sonata No. 19, Op. 49 No. 1 in G Minor – Grade 8 RCM
Six Variations on a Swiss Folk Song, WoO 64 – Grade 8 RCM
Bagatelle in E flat major, op 33 no 1 – Grade 9 RCM
Sonata No. 25 in G major, Op. 79 – Grade 9 RCM
Nine variations on “Quant e piu bello”, WoO 69 – Grade 9 RCM
Six Variations on “Nel cor piu non mi sento”, WoO 70 – Grade 9 RCM
Six Easy Variations on an Original Theme, WoO 77 – Grade 9 RCM
Note
There are a couple ways students generally like approaching works by composers like Beethoven.
Option 1: Get absorbed in a genre. So maybe you like the Beethoven Bagatelles – learn a bunch of them, regardless of the fluctuations of levels.
Option 2: Learn by level. So instead of doing all the Bagatelles, you learn those Beethoven pieces which are level-appropriate. Like if you’re level 8, you learn a few variations, a few sonatas, and/or a few bagatelles.
Neither way is better than the other. People tend to have their own personal preferences. Myself, I like to get absorbed in a work. Like if I’m learning one bagatelle, I’m gonna learn all the bagatelles in the set. I do that when I listen to music, too. Instead of listening to a playlist with a bunch of artists, I much prefer to listen to full albums.
Conclusion
Hopefully this list of easiest Beethoven pieces has helped you some on your piano journey. Enjoy!
xo,
Allysia
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The Beethoven Sonatas
Beethoven Sonata Op. 2 No. 1: Allegro from WorldOfBeethoven on Vimeo.
Part two
Part three
Part four
The End
Also, at the end of this post, there is a link to part two, at the end of the part two post, there is a link to part three etc etc. Enjoy!
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Those who are interested in the score can get it for free on PDF HERE
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Op.2 No.1 is Beethoven’s first published sonata. He wrote it in 1795 or 1796, dedicated it to Joseph Haydn, his teacher at that point. The relation between Haydn and Beethoven was complicated: the legend goes that Beethoven simply didn’t believe Haydn taught him much. I think it is much more complex that that, but I think it is safe to say that Mozart, not Haydn, was Beethoven’s biggest influence and the composer he admired most.
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A couple of things to think about in general when playing this piece:
1) The instrument of those times was very different. We may want to adapt to it or not, but listen to this piano which was Beethoven’s ( yes, this exact piano was his) in 1823, almost 30 years after he composed this sonata.
It’s a much more fragile sound than the pianos of today, no?
Not surprisingly, they looked more fragile too, with a wooden frame:
2) Beethoven was establishing himself as a composer when at the time of composing the first three sonatas. We can argue on the effects it makes on the music, but the fact is, Beethoven wrote this the same year (or the year after) as his first public performance took place in Vienna. In my opinion the music is more outwards than inwards, even in the beautiful slow movements.
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The first thing almost everyone will say about this piece is that it starts with what is called the Mannheim Rocket, Mannheimer Rakete. It sounds like that could be the nickname of a very fast soccer player from Mannheim FC, but it’s not. John Corigliano, an American composer, described it very well:
“a musical technique perfected by the Mannheim Orchestra in the 18th century in which a rising figure (a scale or arpeggio) speeded up and grew louder as it rose higher and higher (hence the term “rocket”)”.
Corigliano actually wrote a symphonic piece called “The Mannheim Rocket” and he also says this:
“The “motor” of the rocket is a very low, very slow “Alberti bass”, the accompaniment pattern that has served as the motor of so many classical pieces.”
A rocket needs a motor…and you will see in a moment how Beethoven is messing with that fact in this sonata.
The Mannheim Orchestra is worth its own page. For now, let’s just introduce that phenomenon briefly. In the 18th century, Germany was not a country as we know it today. A “German” was basically someone speaking german as a mother language: Mozart referred to himself as being German, not Austrian (which was even more natural since Salzburg was not even under Habsburg rule). Every part of the German Empire, or more correctly, the Holy Roman Empire was locally ruled by a prince, or a count, or a duke. The ruler of Mannheim was actually all three, this guy:
Karl Theodore was his name. He loved the arts, and he spent some of his not-so-very-hard-earned money to pay the best musicians to come to his court and play in the court’s orchestra. This orchestra became the best there was, and it perfected things such as crescendo with the whole orchestra together and something we call the Mannhem Roller. That is when you keep the bass, but go higher and higher above it in a crescendo. I’m going to give you two examples:
The first is the beginning of the piece An Arkeology by Jonas Nydesjö, we have three Mannheim inventions . There is the synchronized crescendo with the whole orchestra, there is a Mannheim Roller, and there is also what is called the Mannheim Birds (imitation of birds chirping in solo passages) in the solo violin.:
I love the bird, very Vivaldi!
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Then we have another example of a Mannheim Roller. They stay with the bass tone (which is called ostinato) and goes up, up, up.
Sugar Baby Love:
Get the idea? These build-ups were not really existing before they started doing it in Mannheim. (without the Bap-shuadi, Bap-shuadiadi, though).
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Let’s then get back to the beginning of the Op. 2 No. 1 Sonata, which as mentioned starts with a Mannheim Rocket:
The classic example of another Mannheim Rocket is in Mozart’s g minor symphony:
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Now, what is much more interesting to me than just establishing that those two pieces begins with the same kind of Mannheim Rocket, and this is quite essential to getting to know the Beethoven sonata, is this: Why do they actually sound so different when the begin with the same motive?
To me, the Mozart rocket is something you can sing along to easily, it gets stuck in your head right away (you might end up singing it for the rest of the day quite easily), while Beethoven does not have that quality at all. And it’s essentially the same motive. Now we’re getting to more interesting territory. Because it’s WHAT Beethoven does with his rocket, and what he surrounds it with that makes it so different.
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Mozart puts a nice “motor” under his rocket ( plus the fact that strings have a more melodic sound than a piano), which gives the motive a bouncy and more melodic character. The “motor” is the accompagnement, and what does Beethoven do with the accompagnement? Well, instead of giving the piece a steady beat, he takes away the first beat in every bar. He tears things apart, the music breathes irregularly, and this is why you won’t sing this one in your car.
Let’s take the example of accompaniment from the dictionary, and do to it what Beethoven makes with his left hand in the beginning of the sonata:
(Somehow I think this would not be the same hit, but it would be fun to hear a performance, though.)
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So, while the accompaniment in the Beethoven sonata is being very unstable, the right hand rocket is the driving force, the “motor”. And then, instead of just playing the rocket twice, nice and balanced like Mozart, he repeats it with shorter and shorter versions, so there is this sense of urgency and impatience (which might very well be quite close to Beethoven’s own character, actually).
Now, here is the whole beginning of the sonata:
(yes, that’s me breathing, the music makes me breath like that…I gotta work on it)
This is actually much more closer to Joseph Haydn than to Mozart:
to build a piece by tearing apart what it’s made of.
Sounds like an impossible thing, doesn’t it? But guys, this is art and that’s the beautiful thing with art: it defies logic.
So, we got through the first seconds of the sonata, yay! We’ll cover much more in the next post, where I don’t have to yap about Mannheim…
Beethoven Piano Sonatas | musical compositions
Beethoven Piano Sonatas, compositions by Ludwig van Beethoven. Although he was far from the first great composer to write multi-movement compositions for solo piano, he was, nonetheless, the first to show how much power and variety of expression could be drawn forth from this single instrument. For composers who came after him, notably, but not exclusively, Brahms, his sonatas became the standard of excellence.
When Beethoven was a youth in the late 18th century, the keyboard instrument of choice was the fortepiano. Also known as the pianoforte, it was an improvement on the earlier harpsichord in part because longer, sustained tones were now possible, rather than exclusively short staccato notes, allowing a wider range of expressive moods. The new instrument became widely popular not only in the recital hall, but also in the homes of amateur players, and solo keyboard works were required for both halves of that equation.
Piano sonatas of that time tended to be gracious and elegant in style, and Beethoven’s own early sonatas usually conform to that expectation. However, as he developed his own style and reputation, he began to bring greater drama into his sonatas. They became longer, more dramatic in character, and more demanding of technique, generally designed for Beethoven’s own formidable keyboard skills, rather than those of amateurs. Of his later piano sonatas, only numbers 24 and 25 would not be daunting for non-professional players, and some of the late sonatas, especially no. 29, the “Hammerklavier,” and the three that follow it, are formidable from any point of view.
Why did Beethoven set about these radical changes in an established genre? One might suppose that, as his hearing declined after the turn of the century, he found more aggressively forceful music better suited to his new world view. However, it should also be noted that the new Sturm und Drang (Storm and Stress) movement had arisen in the arts, popularizing the expression of more outspoken moods. Moreover, the piano itself was undergoing evolution, becoming larger in size and range, as well as sturdier in construction. Early pianos, such as those Mozart would have known, required a certain amount of coddling to perform at their best; the Broadwood and Walter pianos that Beethoven came to prefer had an iron frame that was well suited to a stronger hand. Beethoven’s later sonatas were designed to take advantage of this technology, gradually becoming almost symphonic in their expressive power.
A chronological list of the sonatas follows, along with the publication date (and composition date, if significantly earlier):
Beethoven: Sonata piano số 8 “Pathétique”
Thông tin tác phẩm
Tác giả: Ludwig van Beethoven.
Tác phẩm: Sonata piano số 8 “Pathétique” giọng Đô thứ, Op. 13
Thời gian sáng tác: Năm 1798.
Độ dài: Khoảng 18 phút.
Đề tặng: Tác phẩm được đề tặng cho người bạn của nhà soạn nhạc, Hoàng thân Karl von Lichnowsky.
Tác phẩm có 3 chương:
Chương I – Grave – Allegro di molto e con brio
Chương II – Adagio cantabile
Chương III – Rondo: Allegro
Hoàn cảnh sáng tác bản sonata
Sonata piano số 8 là tác phẩm hiếm hoi có tên gọi ngay khi Beethoven còn sống và được ông chấp nhận. Grande Sonate pathétique là cái tên xuất hiện trên ấn phẩm ra đời năm 1799, một năm sau khi tác phẩm được hoàn thành. Theo nhiều nhà nghiên cứu, không phải do chính Beethoven đưa ra mà là gợi ý ban đầu của nhà xuất bản do ấn tượng với tính chất bi kịch và cũng nhằm mục đích gợi lên và nhấn mạnh cảm xúc của tác phẩm, Beethoven đã chấp thuận đề xuất này.
Các nhà âm nhạc học cho rằng, bản nhạc này của Beethoven chịu ảnh hưởng từ Sonata piano K. 457 của Mozart do có một số đặc điểm chung: cùng ở giọng Đô thứ, chương II cũng có một chủ đề với giai điệu gần tương tự nhau. Ngoài ra, một tác phẩm nữa cũng có ảnh hưởng lên “Pathétique” là Partita cho piano số 2 giọng Đô thứ của Bach khi cùng có chương I được ghi chú Grave, chia sẻ nhịp điệu chấm dôi, những đường nét hài hoà và kết cấu chương nhạc. Hơn nữa, 4 nốt đầu tiên trong chương Andante của Partita: Son, Đô, Rê, Mi giáng và được lặp lại nhiều lần được tìm thấy trong “Pathétique” là những nốt đầu tiên của chủ đề 2 chương I và chủ đề chính của chương III.
Phân tích tác phẩm Sontata Pathetique
Chương I bắt đầu với một phần giới thiệu chậm rãi, bi thảm với sự tương phản rõ nét của cường độ và các thang âm. Một motif 6 nốt đặc biệt sẽ xuất hiện nhiều lần trong chương nhạc với những kết cấu và giọng khác nhau. Phần mở đầu này là một phần quan trọng trong chương nhạc, nó sẽ trở lại trong những phần quan trọng của chương nhạc như trước phần phát triển và trong đoạn cuối của phần tái hiện, nơi những khoảng lặng thay thế cho những hợp âm ban đầu. Chủ đề chính xuất hiện trong âm vực khoảng 2 quãng tám với những nốt staccato. Chủ đề bất ngờ xuất hiện ở giọng Mi giáng thứ khá xa lạ thay vì giọng trưởng song song thường gặp hơn. Sau đó âm nhạc được chuyển sang giọng Mi giáng trưởng với việc chủ đề thứ ba xuất hiện. Theo đúng tổng phổ gốc, Beethoven yêu cầu piano phải lặp lại phần trình bày. Tuy nhiên, nhiều nghệ sĩ sau này đã vào thẳng phần phát triển. Ba chủ đề của chương nhạc đều được trở lại trong phần tái hiện, tuy nhiên ở những giọng khác nhau. Chương nhạc kết thúc trong một coda kịch tính có nhắc lại phần Grave đầu chương. Đây cũng là chương nhạc hiếm hoi xuất hiện khá nhiều những nốt móc tứ.
Chương II là một khúc Adagio biểu cảm, tiêu biểu cho chương chậm trong thời kỳ Cổ điển. Một giai điệu có thể hát lên được (cantabile) chiếm vị trí chủ đạo, được xuất hiện 3 lần trong chương, đều ở giọng La giáng trưởng, cách nhau bằng 2 đoạn chen tinh tế mang đến hình thức rondo đơn giản cho chương nhạc. Giữa chương nhạc, Beethoven bộc phát một cơn giận giữ ngắn ngủi, mang phong cách của “Bão táp và Xung kích”, một trào lưu nghệ thuật điển hình của Đức thế kỷ 18, nhưng đã được sức mạnh êm đềm của giai điệu chính xoa dịu.
Chương III là một rondo mở đầu với một giai điệu nhỏ nhắn, hồn nhiên, duyên dáng. Chương nhạc có một cấu trúc mở rộng, giai điệu hấp dẫn, pha trộn giữa sự duyên dáng và đam mê vả cả những không khí u ám của chương I trở lại trong giây lát. Chủ đề chính của chương nhạc mang dáng dấp của chủ đề thứ 2 chương I xuất hiện 3 lần và trong lần cuối, sự căng thẳng kịch tính tăng lên. Phần kết bùng nổ, đưa tác phẩm kết thúc trở lại trong chủ âm Đô thứ.
Sonata piano số 8 đóng một vai trò quan trọng trong sự nghiệp của Beethoven. Sự thành công của tác phẩm đã đưa danh tiếng của ông với tư cách nhà soạn nhạc lên hàng đầu, thay vì chỉ là một nghệ sĩ piano. Bên cạnh đó, tác phẩm còn chứa đựng những đặc điểm âm nhạc mang tính cách mạng mà sẽ được Beethoven phát huy mạnh mẽ trong thời gian sau đó.
Ngọc Tú (nhaccodien.info)
Tổng phổ của bản sonata
Beethoven’s Piano Sonatas: John Suchet’s guide to the music
Beethoven’s Piano Sonatas: John Suchet’s guide to the music
Of all the musical genres (that word again), the Piano Sonata is the only one that Beethoven worked on more or less consistently throughout his life. No large gaps as with the Symphonies or String Quartets.
There are 32 in all; there isn’t a weak one among them, and some are among the most important pieces he ever wrote. They contain every emotion Beethoven was capable of expressing.
Pathétique
To single out just a few. The most important of the early Sonatas is the Pathétique. For the first time Beethoven uses a slow introduction, and an introduction of such weight you know something truly significant is going on. The opening chord breaks once and for all with Haydn and Mozart. You are in Beethoven’s world now.
Among Beethoven’s few close friends in Vienna were the piano-building couple, Andreas and Nanette Streicher. The Pathétique demanded a wider keyboard than ever before, the sheer power of the chords demanded a stronger piano frame, and more resilient strings. The Streichers started building pianos to accommodate Beethoven’s needs. Thus we owe the beginning of the development of the modern concert grand to Beethoven.
If you are in any doubt of the sheer versatility of Beethoven’s music, listen to the beautiful simplicity of the second movement of the Pathétique – a theme so perfect it is as if it emerged from Beethoven fully formed; none of the struggle we usually associate with him. It impressed a modern musician too. Billy Joel put words to it, and it is one of the tracks on his best-selling album, An Innocent Man. The track is “This Night”, and on the sleeve it says Words by B. Joel, music by L. van Beethoven.
The Moonlight
The most famous movement of any of the 32 Piano Sonatas is the opening movement of The Moonlight – the Sonata he composed for the woman he wanted to marry, Giulietta Guicciardi [see Chapter 6, Beethoven’s Women]. For the first time he put the slow movement first (something neither Haydn or Mozart ever did). Just like the opening bars of the Fifth Symphony, this movement is universally known. Yet – again as with the Fifth– try singing it. You can’t. That’s a trick of Beethoven’s: music instantly memorable, that lodges in your head, that you can play in your brain, but that is impossible to reproduce except on the piano. Plenty of amateur pianists can do that. Ask anyone who says they can play Beethoven to demonstrate it, and the opening movement of the Moonlight is what they’ll play (or Für Elise, more correctly a Bagatelle). Then ask them to play the third movement …
Waldstein
We already know the origin of the Waldstein from Chapter 3, The Spaniard. The gloriously spacious theme of the final movement is prefaced by a mysterious, fragmented middle movement, which presages it perfectly. That was not Beethoven’s original intention. The middle movement was a long complete piece with an instantly catchy tune. He realised it was misplaced, and published it separately.
It became an instant hit with the amateur pianists of Vienna. It was published under the title Andante grazioso, but was nicknamed Andante favori by Beethoven himself, who said: I wish I had never written the piece. I cannot walk down a street without hearing it coming through some window or other.
The Andante favori was at the centre of a dramatic sense of humour failure on Beethoven’s part. Ferdinand Ries recounts how, when Beethoven played the piece for the first time to him and a friend, they liked it so much they persuaded Beethoven to repeat it. On his way home Ries called in on Beethoven’s unswervingly loyal and generous patron Prince Lichnowsky to tell him of the new piece.
The Prince urged Ries to play it for him, and Ries did so, as best as he could from memory. He repeated it, remembering more of it each time. Then he helped Lichnowsky learn it too.
The next day Lichnowsky called on Beethoven and told him he had composed a piece of his own which he thought was rather good. Would Beethoven mind listening and giving his opinion? Beethoven said no. Despite this the Prince sat at the piano and played … theAndante favori. Beethoven was utterly furious, expelled Lichnowsky from his apartment and threatened to break with Ries totally.
Appassionata
Wagner’s favourite was the Appassionata. He loved playing it, and marvelled at the theme of the first movement rising from the depths. Once again, as with the Pathétique, the middle movement is simplicity itself, almost a theme on a single note. The entire work has such nobility and passion it is small wonder the publisher gave it the name by which it is known.
As with the Pastoral Symphony, the only Piano Sonata where Beethoven tells us what his music represents (though not as literally as with the Symphony) is Les Adieux. It has become known by its French name, since the publishers subtitled it in French, but the original (rather more cumbersome) German title was Das Lebewohl, Abwesenheit und Wiedersehn [The Farewell, Absence and Return].
Beethoven composed it in the most fraught year in recent Viennese history. On 9 May 1809 Austria (yet again) declared war on France. Napoleon Bonaparte, who had occupied Vienna three years before peacefully, this time decided to teach the recalcitrant Austrians a lesson once and for all. He led his Revolutionary Army into Austria and marched them north east to Vienna. Word travelled ahead. Anyone who could, fled from the city. Roads were choked with people, wagons piled high with furniture and belongings.
It was decided that the Imperial royal family, headed by the Emperor, should leave Vienna for their own safety. This included the Emperor’s youngest brother, Archduke Rudolph, friend and patron of Beethoven.
Beethoven told the Archduke he would compose a Piano Sonata to mark the occasion. He completed the first movement, Das Lebewohl, before the Archduke left with his family on 4 May, and said he would complete the other two when he was sure of the Archduke’s return. This he duly did. Above the three descending opening chords of the first movement he wrote on the manuscript page: Le-be-wohl.
It is a beautiful piece of music, and as always with Beethoven when you know what lies behind its composition, you listen to it with entirely different ears.
Hammerklavier
We come to the most monumental of all the Piano Sonatas, the Hammerklavier. This was the work that Beethoven composed at the height of the traumatic court case, when he was composing little else. What spurred him to do it? More than likely the thoroughly prosaic fact that at the beginning of the year he had received a remarkable gift. The famous London piano maker Broadwood & Sons shipped a specially built, specially robust six-octave grand piano to Beethoven, sending it by sea to Trieste and then overland to Vienna. This, combined with the fact that the Archduke’s name-day was on 17 April, persuaded Beethoven to compose a new Sonata.
Beethoven loved the piano, with its heavier English action which suited his music and playing style, and he was touched to see that Ferdinand Ries had signed his name on the board behind the keys. This most famous of Broadwood pianos – by the time of Beethoven’s death in poor state due to his pounding on the keys and numerous repairs – was sold at the auction of his effects to an antique dealer for 100 florins. He gave it to Franz Liszt in 1846, who treasured it but never played on it, saying he was not worthy to press the keys that Beethoven had pressed. In 1874 Liszt presented it to the Hungarian National Museum in Budapest, where it stands today.
In the early 1990s the piano was restored – a major task which involved virtually rebuilding it. Ries’s signature was still clearly visible. Shortly after this it was transported briefly to England where the Malaysian-born English fortepianist Melvyn Tan performed on it. For this journey it was insured for five million pounds!
The opening sequence of chords, preceded by a fleeting note in the bass and a multi-octave leap by the left hand, is humanly impossible to play at the metronome speed marked by Beethoven. It sets the tone for the work. Massive, monumental, taking the Piano Sonata to totally new heights. Fugue, counterpoint, double trills … it is as if Beethoven is saying look at what I can do.
But as ever Beethoven is rarely satisfied. Around eight months after completing the Hammerklavier, and six months after sending it to Ferdinand Ries in London for publication, he wrote to Ries with an additional bar he wanted inserted at the start of the slow movement – just two notes, played in octaves. Ries protested that the work was about to be published, and to stop it now would cause unnecessary problems. In any case, just one bar of two notes? Beethoven insisted. Today’s musicologists will tell you those two notes, and the key they are in, are essential to what follows.
Piano Sonatas, opp.109, 110, 111
The Hammerklavier is often taken to signify the start of Beethoven’s Late Period. Certainly everything that now follows – Missa Solemnis, Ninth Symphony, Piano Sonatas, String Quartets – are on an entirely different plane to what has gone before.
Profoundly deaf, deeply miserable, failing health – and the greatest works of all.
The final set of Piano Sonatas, opp.109, 110, 111, (no names, just opus numbers) stand alone too. Not so monumental as the Hammerklavier, but more intimate and more deeply personal. Intimacy pervades op.109, there is warmth and optimism in op.110, and if you want more proof that Beethoven was a composer ahead of his time, listen to the second and final movement of op.111. It is a set of variations. For a whole page Beethoven writes pure syncopated rhythm. It is a glimpse of the future; it is jazz.
One passage of one of the three Sonatas in particular grips me every time I hear it. It is the final two movements of op.110. Beethoven has composed one of his saddest themes, even writing on the manuscript page: Klagender Gesang [Doleful song]. Finally, he draws the theme to a close, then sounds a chord, which he repeats no fewer than nine times. It is as if he is saying:
No, no, I will not give in to my deafness. I will not give in. I will not.
He then launches into one of the most complicated, exciting, climactic fugues he ever composed for the piano. Each time I hear it, I think of this profoundly deaf man who has triumphed over the worst fate that can befall a musician, and this is his way of telling us, in the only way he knows: musical notes.
Is he also telling us that if he can overcome such a disaster, then we of future generations, in listening to his music, can overcome our own private troubles? I think so.
My favourite Piano Sonata, Opus 110. And yes, if you push me, (please don’t,) my single favourite piece in all Beethoven’s music, Piano Sonata Opus 110.
Listen to the recording made in 1967 by Jörg Demus in Beethoven’s birth house in Bonn on the last piano Beethoven owned (built by Conrad Graf). Close your eyes and imagine…
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