Piano Sonata No. 1 | |
---|---|
by Ludwig van Beethoven | |
Key | F minor |
Opus | 2/1 |
Style | Classical period |
Form | Piano sonata |
Composed | 1795 |
Dedication | Joseph Haydn |
Published | 1796, Vienna |
Publisher | Artaria |
Duration | 18 minutes |
Movements | 4 |
Audio samples | |
I. Allegro (3:20) | |
II. Adagio (6:01) | |
III. Menuetto and Trio (Allegretto) (3:26) | |
Ludwig van Beethoven's Piano Sonata No. 1 in F minor,Op. 2 No. 1,was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his second and third piano sonatas in 1796.
Donald Francis Tovey wrote,"Sir Hubert Parry has aptly compared the opening of [this sonata] with that of the finale of Mozart's G minor symphony to show how much closer Beethoven's texture is. The slow movement ... well illustrates the rare cases in which Beethoven imitates Mozart to the detriment of his own proper richness of tone and thought,while the finale in its central episode brings a misapplied and somewhat diffuse structure in Mozart's style into a direct conflict with themes as Beethovenish in their terseness as in their sombre passion". [1]
The sonata is laid out in four movements:
The first movement,in cut common time,is in the tonic key of F minor and in conventional sonata form,as was typical at Beethoven's time. A tense,agitated feel is ubiquitous throughout the movement.
The piece opens with an ascending arpeggiated figure (a so-called Mannheim Rocket,like that opening the fourth movement of Mozart's Symphony No. 40), [2] culminating in a sixteenth-note triplet turn. This theme was used by Arnold Schoenberg for his initial example of sentence form. [3] This subject is reiterated and increasingly shortened until reaching a climatic half cadence in measure 8. After a short intriguing fermata,the ascending-arpeggio motif is now introduced on the dominant minor key (C minor),played by the left hand. [4] This is seamlessly continued by imitative sequences (mm. 9–14),effectively working as a transition preparing the secondary key (see sonata form).
An ascending bass progression leading to a half-close in the key of A♭ major is played three times (mm. 15–19) against syncopated descending thirds on the right hand,all of which unequivocally establishes A♭ major (the relative major of F minor) as the secondary key. (Using the relative major as secondary key is the most conventional procedure for minor-key sonata expositions.)
A new melodic subject based on a descending arpeggio is presented over a ceaseless dominant pedal in broken octaves (mm. 20–25). This subject clearly references the opening subject of the sonata,both being quarter-note arpeggios,whilst contrasting with it by inverting its contour (descending vs. ascending),articulation (legato vs. staccato) and harmony (outlining a dominant ninth chord as opposed to the tonic chord in the opening subject). This dual quality of unity and contrast achieved by using the same musical material in opposite ways (to articulate the tonic and secondary keys respectively),proved to be an effective device for Beethoven,which he would use again for his other much more famous piano sonata in F minor,Op. 57.
The second subject stays in A♭ major throughout,as would be expected of conventional sonata form,although it also hints its parallel minor key (A♭ minor). After sequencing iterations (mm. 26–31) of the 3-note motif that followed the descending arpeggio,the music seems to take off on a loud closing theme outlining a cadential progression (III6,IV6,V6
4,V7). which is played twice (mm. 33–40) and solidly resolves to an A♭ major chord. A little codetta (or cadence theme, [4] mm. 41–48) echoing the second half of the opening subject (m. 2),again with shadings of A♭ minor,and eventually resolving in an emphatically perfect cadence (the first one so far). The exposition is repeated.
The development opens with the initial theme (mm. 49–54) in the secondary key,A♭ minor,but is mostly dedicated to the second subject and its eighth-note accompaniment (mm. 55–73),first in its original form,then exchanging roles between the hands. This goes through the relatively close keys of B♭ minor,C minor,B♭ minor and back to A♭ major,where it creates a sequence on the last two notes of the theme (mm. 73–80),going through a descending-fifths progression leading to a terse dominant pedal on C (mm. 81–92),preparing the return of the tonic key. A very quiet passage of mysterious-sounding suspensions follows (mm. 93–100),over which the exposition's transition material is reprised,serving as a retransition back to the opening material. [4]
The recapitulation (mm. 101–145) starts loudly instead of quietly (a common device in Beethoven's early piano sonatas),and with many of the left-hand chords now happening on strong beats,unlike the syncopated exposition. Most events from the exposition are reprised in the same order,with slight changes of dynamics and voicings. Most significantly,all the material previously stated on the secondary key is now restated in the tonic,so that this time the final perfect cadence is heard on the tonic-key,giving a satisfying resolution to the key dichotomy in the exposition. To this end,the original transition to the secondary key is rewritten passing through the subdominant key and leading back to the tonic,which is a conventional procedure in classical sonata recapitulations. [4]
At the end of the recapitulation,instead of giving the perfect cadence in the exact parallel location to that of the exposition,Beethoven delays the resolution for an extra 6 measures,during which two 'fake' attempts at a final resolution (in the subdominant and relative major keys,respectively) heighten anticipation for the 'true' cadence. The movement finishes on a fortissimo perfect cadence on F minor.
The second movement is in ternary form (or sonata form without development [4] ). It opens with a highly ornamented lyrical theme in 3
4 time in F major (mm. 1–16). This is followed by a more agitated,5-measure transitional passage in D minor (mm. 17–22) accompanied by quiet parallel thirds,followed by a passage full of thirty-second notes in C major (mm. 23–31). [4] This leads back to a more embellished form of the F major theme (mm. 32–47),which is followed by an F major variation of the C major section (mm. 48–55). Finally,there is a short coda (mm. 56–61).
This Adagio (along with two themes from his sonata Op. 2,No. 3 [4] ) was the earliest composition by Beethoven now in general circulation;it was adapted from the slow movement of his Piano Quartet No. 3 in C major from 1785. [5]
The third movement,a minuet in F minor,is conventional in form. It contains two repeated sections,followed by a trio in F major in two repeated sections,after which the first minuet returns. The minuet is characterized by syncopations,dramatic pauses and sharp dynamic contrast,and like many minor-key minuets has a somewhat melancholy tone spanning major and minor tonality.[ citation needed ] The trio is built around longer,more lyric phrases that pass between the right and left hands in imitative polyphony. The main material is reprised ( da capo ) after the trio. [2] [4]
The fourth movement,like the first and third,is in the tonic-minor key (F minor),is in cut common time and bears the tempo marking prestissimo ("very fast"). It has the form of a modified sonata-allegro movement,in which the development section has been replaced with a contrasting middle section (or episode). [4]
The movement opens with fast triplet eighth-note arpeggios on the left hand,over which the main three-chord motif in staccato quarter notes is introduced two beats later (shown above). The eighth-note triplet figuration pervades throughout most of the exposition,alongside the main motif's character of "energetic,frantic pursuit of something elusive". [2] A transitional passage (mm. 13–21) modulates to the dominant-minor key (C minor),where a more lyrical but still agitated theme is presented twice. It is noteworthy that Beethoven chose the dominant-minor key as the secondary key,instead of the more conventional relative major. The exposition closes emphatically on C minor (mm. 50–56),with iterations of the first subject chordal motif,and is repeated.
Instead of developing earlier material (as would be expected of a conventional allegro-sonata movement),the following middle section starts off with a peaceful new theme in the relative major key (A♭ major),thus compensating for its absence as the exposition's secondary key. This A♭ major theme is articulated in quarter-notes,providing a respite from the eighth-note triplets that pervaded most of the exposition. This major theme provides the answer to the rocket theme that opens the sonata (both ascending,one lyrical and major,the other percussive and minor). It is structured on compound-binary form,where both phrases are played twice each in slightly varied fashion.
This is followed by an extended retransition based on alternating motives from the exposition first subject and the middle-section theme. The recapitulation (mm. 138–192) reprises the whole exposition nearly identically (apart from very slight changes in dynamics and voicings),but significantly all the material is now re-stated in the tonic key (F minor),as would be expected of any conventional sonata form. The movement ends on a fortissimo eighth-note-triplet descending arpeggio,perhaps to give a symmetrical ending to a sonata that opened with a raising arpeggio.[ according to whom? ]
The first edition (published in 1796) and other early editions direct the performer to repeat the second section. However,Donald Francis Tovey thought that following the repeat sounded "very crude". [4]
Sonata form is a musical structure generally consisting of three main sections:an exposition,a development,and a recapitulation. It has been used widely since the middle of the 18th century.
The Piano Sonata No. 12 in F major,K. 332 (300k) by Wolfgang Amadeus Mozart was published in 1784 along with the Piano Sonata No. 10 in C major,K. 330,and Piano Sonata No. 11,K. 331. Mozart wrote these sonatas either while visiting Munich in 1781,or during his first two years in Vienna. Some believe,however that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife,Constanze to his father,Leopold. All three sonatas were published in Vienna in 1784 as Mozart's Op. 6.
Ludwig van Beethoven's Piano Sonata No. 29 in B♭ major,Op. 106 is a piano sonata that is widely viewed as one of the most important works of the composer's third period and among the greatest piano sonatas of all time. Completed in 1818,it is often considered to be Beethoven's most technically challenging piano composition and one of the most demanding solo works in the classical piano repertoire. The first documented public performance was in 1836 by Franz Liszt in the Salle Erard in Paris to an enthusiastic review by Hector Berlioz.
Ludwig van Beethoven's Piano Sonata No. 23 in F minor,Op. 57 is among the three famous piano sonatas of his middle period;it was composed during 1804 and 1805,and perhaps 1806,and Beethoven dedicated it to cellist and his friend,Count Franz Brunswick. The first edition was published in February 1807 in Vienna.
Beethoven's Piano Concerto No. 3 in C minor,Op. 37 is always thought to have been composed in 1800,although the year of its composition has been questioned by some contemporary musicologists. It was first performed on 5 April 1803,with the composer as soloist. During that same performance,the Second Symphony and the oratorio Christ on the Mount of Olives were also premiered. The composition was published in 1804,and was dedicated to Prince Louis Ferdinand of Prussia. The first primary theme is reminiscent of that of Mozart's 24th Piano Concerto,also in C minor.
Beethoven's Piano Sonata No. 21 in C major,Op. 53,known as the Waldstein,is one of the three most notable sonatas of his middle period. Completed in summer 1804 and surpassing Beethoven's previous piano sonatas in its scope,the Waldstein is a key early work of Beethoven's "Heroic" decade (1803–1812) and set a standard for piano composition in the grand manner.
Ludwig van Beethoven's Piano Sonata No. 3 in C major,Op. 2,No. 3,was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his first and second sonatas in 1796.
The Piano Sonata No. 9 in E major,Op. 14,No. 1,is an early-period work by Ludwig van Beethoven,dedicated to Baroness Josefa von Braun,one of his patrons at that time. It was composed in 1798 and arranged for string quartet by the composer in 1801,the result containing more quartet-like passagework and in the more comfortable key of F major.
Ludwig van Beethoven's Piano Sonata No. 5 in C minor,Op. 10,No. 1 was composed some time during 1796–98.
Ludwig van Beethoven's Piano Sonata No. 6 in F major,Op. 10,No. 2,was dedicated to the Countess Anne Margarete von Browne,and written from 1796 to 1798. It was published in Vienna by Joseph Eder in 1798.
Beethoven's Piano Sonata No. 11 in B♭ major,Op. 22,was composed in 1800,and published two years later. Beethoven regarded it as the best of his early sonatas,though some of its companions in the cycle have been at least as popular with the public.
Ludwig van Beethoven's Piano Sonata No. 22 in F major,Op. 54,was written in 1804. It is contemporary to the first sketches of the Symphony No. 5 in C Minor. It is one of Beethoven's lesser known sonatas,overshadowed by its widely known neighbours,the Waldstein and the Appassionata.
Cello Sonatas No. 1 and No. 2,Op. 5,are two sonatas for cello and piano written by Ludwig van Beethoven in 1796,while he was in Berlin. While there,Beethoven met the King of Prussia Friedrich Wilhelm II,an ardent music-lover and keen cellist. Although the sonatas are dedicated to Friedrich Wilhelm II,Ferdinand Ries tells us that Beethoven "played several times at the court,where he also played the two cello sonatas,opus 5,composed for Duport and himself". Although Jean-Pierre Duport was one of the King's teachers,it is now thought to have been his brother Jean-Louis Duport who had the honor of premiering these sonatas.
Franz Schubert's Piano Sonata in A minor,D 784,is one of Schubert's major compositions for the piano. Schubert composed the work in February 1823,perhaps as a response to his illness the year before. It was however not published until 1839,eleven years after his death. It was given the opus number 143 and a dedication to Felix Mendelssohn by its publishers. The D 784 sonata,Schubert's last to be in three movements,is seen by many to herald a new era in Schubert's output for the piano,and to be a profound and sometimes almost obsessively tragic work.
F-flat major is a theoretical key based on F♭,consisting of the pitches F♭,G♭,A♭,B double flat,C♭,D♭,and E♭. Its key signature has eight flats,requiring one double flat and six single flats.
Franz Schubert's last three piano sonatas,D 958,959 and 960,are his last major compositions for solo piano. They were written during the last months of his life,between the spring and autumn of 1828,but were not published until about ten years after his death,in 1838–39. Like the rest of Schubert's piano sonatas,they were mostly neglected in the 19th century. By the late 20th century,however,public and critical opinion had changed,and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire,appearing regularly on concert programs and recordings.
The six string quartets Op. 20 by Joseph Haydn are among the works that earned Haydn the sobriquet "the father of the string quartet". The quartets are considered a milestone in the history of composition;in them,Haydn develops compositional techniques that were to define the medium for the next 200 years.
The Piano Quartet No. 3 in C minor,Op. 60,completed by Johannes Brahms in 1875,is scored for piano,violin,viola and cello. It is sometimes called the Werther Quartet after Goethe's The Sorrows of Young Werther. The premiere took place in Vienna on November 18,1875,to an anxious public. Richard Wagner and his wife Cosima were in attendance.
The Piano Quartet No. 1 in G minor,Op. 25,was composed by Johannes Brahms between 1856 and 1861. It was premiered in 1861 in Hamburg,with Clara Schumann at the piano. It was also played in Vienna on 16 November 1862,with Brahms himself at the piano supported by members of the Hellmesberger Quartet. Like most piano quartets,it is scored for piano,violin,viola,and cello.
The String Quartets,Op. 50,were composed by Joseph Haydn in 1787. The set of six quartets was dedicated to King Frederick William II of Prussia. For this reason the set is commonly known as the Prussian Quartets. Haydn sold the set to the Viennese firm Artaria and,without Artaria's knowledge,to the English publisher William Forster. Forster published it as Haydn's Opus 44. Haydn's autograph manuscripts for Nos. 3 to 6 of the set were discovered in Melbourne,Australia,in 1982.