Moonlight Sonata. History of a masterpiece

Beethoven's Sonata "Quasi una Fantasia" cis-moll ("Moonlight")
The history of the origin of “Moonlight” - both the sonata itself and its name - is widely known. The article brought to the attention of the reader does not provide any new data of this kind. Its goal is to analyze the “complex of artistic discoveries” with which this unique work of Beethoven is so rich; consideration of the logic of thematic development associated with a whole system of expressive means. Finally, behind all of the above there is a kind of super task - revealing the inner essence of the sonata as a living artistic organism, as one of the many expressions of Beethoven's spirit, identifying the specific uniqueness of this particular creative act of the great composer.
The three parts of “Lunar” are three stages in the process of formation of a single artistic idea, three stages reflecting the purely Beethovenian method of implementing the dialectical triad - thesis, antithesis, synthesis*. This dialectical triad is the basis of many laws of music. In particular, both sonata and sonata-cyclic forms owe a lot to her. The article makes an attempt to identify the specifics of this triad both in Beethoven’s work as a whole and in the sonata under analysis.
One of the features of its embodiment in the work of the great composer is an explosion - a sharp qualitative change during the transition to the third link with the instant release of powerful energy.
In the works of Beethoven of his mature period, a dramatic complex operates: movement - inhibition - the emergence of an obstacle - instantaneous overcoming of the latter. The formulated triad is embodied at a variety of levels - from the functional plan of the theme to the construction of an entire work.
The main part “Appassionata” is an example in which the first eight bars (the first two elements, given in the comparison of f-moll and Ges-dur) are action, the appearance of the third element and the resulting fragmentation, the struggle of the second and third elements is braking, and the final passage sixteenths - explosion.
A similar functional relationship is found in the main part of the first part of the “Heroic”. The initial fanfare thematic seed is action. The appearance of the cis sound in the bass, syncopation in the upper voice, deviation in g-moll is an obstacle, a diverging scale-like move ending the sentence with a return to Es is overcoming. This triad controls the development of the entire exhibition. In the second sentence of the main part, overcoming the obstacle (powerful syncopations) also occurs through a similar divergent scale. The third sentence in the same way leads to the dominant B-dur. Pre-actual theme - (the compositional functions of this theme are the combination of the pre-act before the side part - the dominant organ point - with the presentation of the new theme; but from the fact that such a significant musical thought is expressed here, its dramatic function as a side part follows) - roll call of woodwinds and violins in syncopated rhythm - an obstacle that arises at a higher level of action, in which the first member of the triad is the entire main party. Careful analysis can reveal the effect of this method throughout not only the exposure, but throughout the entire first part.
Sometimes, with a continuous sequence of touching links, a kind of dramatic ellipse can arise, as, for example, in the center of development, when the development of a rhythmic figure leads to rearing dissonant syncopations - the real embodiment of the idea of overcoming an obstacle. Both members of the triad merge into one whole, and the next episode in e-moll introduces a sharp contrast: lyrics are an obstacle to the heroic (the embodiment of this within the exposition is moments of lyrical calm).
Appears in 32 variations, as L. A. Mazel writes,
“characteristic series” - a group of variations that implement this principle in a special form (variations with lively movement, lyrical, “quiet” variation and a group of “loud” dynamically active variations that appear in the form of an explosion - for example, VII-VIII, IX, X-XI variations).
Various versions of the triad are also formed at the cycle level. The most original solution is the articulation of the third and fourth movements of the Fifth Symphony. In the first section of the “scherzo” (Beethoven does not give this name, and it is hardly fair to call this part so without reservations), where there is a return to the idea of the first part - the idea of struggle, the first element of the triad is realized - action. A striking artistic discovery was that the “antithesis” - the obstacle - was embodied by the composer not in a contrasting thematic structure, but in a variant of the initial one: the “muffled” reprise becomes the expression of the second member of the triad. “The famous transition to the finale,” writes S. E. Pavchinsky, “is something completely new. ...Beethoven here achieved exhaustive completeness and no longer repeated himself in this (the concept of the Ninth Symphony is by no means identical to the Fifth).”
S. Pavchinsky rightly points out the “completeness” of the expression of Beethoven’s technique. But it can be considered “exhaustive” only in the aspect of this solution to the problem, when the function of explosion is performed by the famous dominant dynamic increase and the major tonic that arises as a result. In the Ninth Symphony, Beethoven finds a truly different solution, but based on the same triad, when the third part - a lyrical digression - is replaced by the shock beginning of the finale. The dramatic passage, announcing the overcoming of lyricism, becomes, in the order of dramatic ellipse, the beginning of a new stage - movement, recitatives - a brake; the moment of overcoming stretches out - the emergence of the theme of joy in the quiet bass voices - a unique case: the place of the explosion retreats to the region of the most hidden, distant (“anti-explosion”).
The dramatic function of the explosion is carried out in the development of variations. The entire further movement of the music of the finale passes through a number of triadic links.
In "Lunar" Beethoven's dramatic method receives an individual solution. This sonata is one of Beethoven’s relatively early creations, and it can be assumed that the peculiarities of the embodiment of the triad were the result of both the specificity of the plan and the composer’s not yet fully formed dramatic principles. The “Triad” is not a Procrustean bed, but a general principle that is solved differently in each case. But the most specific of the “triad” is already expressed in “Lunar”.
The music of the finale is a different thing from the music of the first part. The artistic essence of all parts will be considered further, but even without analysis it is clear that Adagio conveys an internally concentrated deepening into one idea. In the finale, this latter is embodied in a violently active aspect; what in Adagio was constrained, concentrated in itself, directed inward, in the finale, as it were, finds a way out, is directed outward. The mournful consciousness of life's tragedy turns into an explosion of furious protest. The sculptural static is replaced by the rapid movement of emotions. The turning point that occurred is due to the nature of the second part of the sonata. Let us remember Liszt's words about Allegretto - “a flower between two abysses.” All the music of this quasi-scherzo conveys something very far from the deep philosophicalness of the first movement; on the contrary, it reveals the immediate, simple and trusting (like a ray of sunshine, the smile of a child, the chirping of birds) - something that contrasts the darkness of the tragedy of the Adagio with the thought: life itself beautiful to myself. The comparison of the first two parts gives rise to a psychological reaction - one must live, act, fight.
Beethoven's hero, as if awakening from a mournful self-absorption under the influence of a smile of simple joy that flashed before his gaze, instantly ignites - the joy of the upcoming struggle, anger, and fury of indignation replace the previous reflection.
R. Rolland wrote about the internal connection of the three movements of the sonata: “This playing, smiling grace should inevitably cause - and indeed causes - an increase in sorrow; its appearance turns the soul, initially crying and depressed, into a fury of passion.” “The tragic mood, restrained in the first part, breaks out here in an uncontrollable stream,” writes V. D. Konen. From these thoughts to the idea of complete dialectical unity of the “Lunar” cycle is one step.
In addition, the essay under analysis reflects another psychological complex.
Let us remember the verses of Dante - “there is no greater torment than in days of sorrow to remember the days of past joy.” What is expressed in a short phrase for its implementation also requires a triad: restrained sadness - an image of former joy - a violent outburst of grief. This triad, embodying psychological truth and the dialectic of feelings, is reflected in various musical works. In “Lunar”, Beethoven found a special option, the specificity of which lies in the third link - not an outburst of grief, but an explosion of protesting anger - the result of the experience. It can be understood that the dramatic formula of “Lunar” combines the essence of both considered triads.
Sorrowful reality is an image of pure joy - a protest against the conditions that give rise to suffering and sorrow. This is a generalized expression of the dramaturgy of “Lunar”. This formula, although it does not exactly coincide with the Beethoven triad of the mature period, is, as has been said, close to it. Here a conflict is also created between the first and second links - thesis and antithesis, leading to a violent outbreak as a way out of the contradiction.
This output can be very different. Beethoven's symphonies typically have a heroic solution to a problem, while his piano sonatas typically have a dramatic solution.
One of the significant differences between these two types of sonata cycles in Beethoven lies precisely in the fact that in sonatas with a dramatic first part, their author never comes to a heroic final solution. The otherness of the drama of the first movement (“Appassionata”), its dissolution in folk song variants (“Pathetique”), in the boundless sea of lyrical moto perpetuо (Seventeenth Sonata) - these are the options for resolving the conflict. In the later sonatas (e-moll and c-moll), Beethoven creates a “dialogue” of dramatic conflict either with a pastoral idyll (Twenty-seventh Sonata) or with images of high soaring spirit (Thirty-second Sonata).
“Moonlight” is decisively different from all other piano sonatas in that the center of drama in it is the last movement. (These are the essential features of Beethoven’s innovation. It is known that subsequently - especially in Mahler’s symphonies - transferring the center of gravity of the cycle to the finale became one of the forms of dramaturgy.)
The composer, as it were, reveals one of the possible ways of creating dramatically effective music, while in other cases it serves as the starting point.
Thus, the dramaturgy of this sonata is unique: the finale is
not a solution to the problem, but only its formulation. The paradoxical inconsistency of such dramaturgy turns into the highest in the hands of a genius.
naturalness. The universal love of the broadest masses of listeners, tens of millions of people, captivated by the greatness and beauty of this music from the day of its birth, is proof of a rare combination of the richness and depth of ideas with the simplicity and universal significance of their musical solution.
There are not many such creations. And each of them requires special attention. The inexhaustibility of the content of such works makes the forms of their study inexhaustible. This article is just one of many possible aspects of the study. Its central, analytical section examines specific forms of embodiment of the sonata's dramaturgy. The analysis of the three parts contains the following internal plan: means of expression - thematism - forms of its development.
In conclusion, generalizations of an aesthetic and ideological nature follow.
In the first part of the sonata - Adagio - the expressive and formative role of texture is very great. Its three layers (Their presence is stated by A. B. Goldenweiser) - the lines of the bass, middle and upper voices - are associated with three specific genre sources.
The first textured layer - the measured movement of the lower voice - seems to bear the “imprint” of the basso ostinato, predominantly descending from the tonic to the dominant with a number of twists and turns. In Adagio, this voice does not stop for a moment - its mournful expressiveness becomes the deep foundation of the complex multi-layered figurative fusion of the first movement. The second textured layer - the pulsation of triplets - originates from the prelude genre. Bach repeatedly used calm, continuous movement in works of this kind with their deep generalized expressiveness. Beethoven also reproduces the typical harmonic formula of Bach's initial thematic core TSDT, complicating it with chords of degree VI and II low. Combined with the descending bass, this all suggests significant connections to Bach's art.
The metrorhythmic design of the main formula plays a decisive role. In this case, in Adagio, both types of sizes are combined - 4X3. Perfectly accurate squareness on the scale of a beat and three-dimensionality within its beat. The two main sizes, coexisting, combine their efforts. The triplets create the effect of roundness and rotation, permeating the Adagio; a lot of the essence of the expressiveness of the first part of the “Lunar” is connected with them.
It is thanks to this rhythmic formula that a deep, comprehended embodiment of an artistic idea arises through emotion - a kind of projection of non-stop objective forward movement onto the plane of a person’s spiritual world. Each triplet, when rotating along the chord sounds, is a spiral curl; the accumulated gravity of the two lighter beats (the second and third eighth of each triplet) does not lead forward in an upward direction, but returns to the original low point. As a result, unrealizable inertial linear gravity is created.
A regularly and evenly repeated return to the lower sound and an equally uniform and regular upward movement from it, not interrupted for a moment, gives rise to the effect of a spiral going into infinity, a constrained movement that does not find a way out, concentrated in itself. The minor scale defines a deep mournful tone.
The role of uniformity of movement is also great. It clearly reveals the time-measuring side of rhythm*. Each triplet measures a fraction of time, quarters collect them in threes, and measures - in twelve. The constant alternation of heavy and light measures (two measures) - twenty-four each.
The analyzed Adagio is a rare example of such a branched metrical organization in slow-tempo music with a complex meter. This creates a special expressiveness. This is how seconds, minutes and hours of running time are measured. We “hear” it in moments of special spiritual concentration, in moments of lonely delving into the world around us. Thus, before the mental gaze of the thinker, days, years, centuries of human history pass in a measured sequence. Compressed and organized time as the most important factor determining our lives is one of the aspects of the expressive power of Adagio.
A smooth movement in major in a higher and lighter register is the basis of Bach's Prelude in C major. Here, time measurement in conditions of absolutely square movement (4X4) and a different texture formula embodies a softer, gentler and more benign image. The legend of the Annunciation, associated with the idea of prelude (the descent of an angel), suggests a luminous generalization of the eternal image of the current time. Closer to “Lunar” there is a uniform movement with the same 4X3 formula in the introduction of Mozart’s Fantasia in d minor. The minor key and descending bass formula create a more Beethoven-like image, but the low register and wide arpeggiated movement bring to life a dark flavor. Here the genre of prelude is embodied by Mozart in its pure form - this episode becomes only the introduction to the fantasy itself.

In Adagio, the initial impulse is very important - the first figurations of triplets outline the movement from fifth to third, forming a “lyrical sixth” (The idea of a “lyrical sixth” in a melody was expressed by B.V. Asafiev and developed by L. Mazel.) with a peak on the mode-defining tone. The lyrical sixth is given here only as a skeleton. Beethoven used it more than once in an intonation-individualized form. It is especially significant in the finale of the sonata in d minor, where, as if captured by a similar rotational movement, the initial sixth outlines the relief of a melodized cell - the basis of the final moto perpetuo. This seemingly external analogy, however, is essential for understanding the idea of “Lunar” as a whole.
So, an even spiral movement - like circles diverging across a water surface from pebbles evenly falling into it - is four quarters. The latter form a square base, they determine the movement of both the bass and the upper voice. The upper voice is the third layer of the Adagio texture. The initial core is the recitative of the upper voice - the first five bars of the theme itself - the movement from the cis-moll fifth to the E-major note. The questioning character of the fifth is embodied in the Adagio with complete clarity. The turn T-D, D-T creates a complete logical whole within a two-beat - a phrase of question-and-answer harmonic movement, which, however, does not give resolution thanks to the fifth ostinato of the upper voice.
Let's name similar fifth ostinato in Beethoven: Marcia funebre from the Twelfth Sonata, Allegretto from the Seventh Symphony, the initial impulse from the second movement of the Third Symphony.
The expressive significance of the emphasis on the fifth, its “fatal” character is confirmed decades later in the work of various composers, for example, in Wagner (in the Funeral March from “The Death of the Gods”), in Tchaikovsky (in the Andante from the Third Quartet).
Particularly convincing is the analogy with Marcia funebre from Beethoven’s Twelfth Sonata, written just shortly before “Moonlight”. Moreover, the opening sentence of the theme from “Lunar” is close to the second sentence of March** from the Twelfth Sonata (“... the rhythm of the funeral march is “invisibly” present here”).

It is also interesting to note a characteristic turn - the modulation and progression of the melody from the VI degree of minor to the I degree of parallel major, used in both sonatas.
Similarities between sonatas op. 27 No. 2 and op. 26 is enhanced by the appearance after the final cadence of the minor of the same name, which greatly thickens the mournful flavor of the music (F-dur - e-moll, H-dur - h-moll). A different texture, a new, rare for that time, cis-minor tonality give rise to a new version of the mourning image - not a funeral procession, but a mournful reflection on human destinies. Not an individual hero, but humanity as a whole, its fate - this is the subject of mournful reflection. This is also facilitated by the chordal basis of the texture - the joint action of three voices. A decomposed triad at a slow tempo and appropriate register can create an image of a kind of dispersed chorality; this genre is, as it were, in the depths of our perception, but it directs consciousness towards the path of generalized imagery.
The sublime, impersonal, generated by the combination of chorale and prelude, is combined with the manifestation of the personal - the recitative of the upper voice, turning into an arioso. This is how the characteristic music of I.S. arises. Bach one-time contrast.
The combination of two opposing figurative and ideological factors creates the atmosphere of Adagio, its polysemy. This gives rise to many specific subjective interpretations. By internally emphasizing the upper voice, the personal aspect of perception is enhanced; if the focus of the listener’s (and performer’s) attention is transferred to the choral-prelude layer of texture, the emotional generality increases.
The most difficult thing both in performing and in listening to music is to achieve the unity of personal and impersonal that is objectively inherent in this music.
The intonation concentration of the initial thematic core extends to the form of the Adagio as a whole, to its tonal plane. The first period contains a movement from cis-moll to H-dur, that is, to the dominant e-moll. E-minor is, in turn, the tonality of the same name for E-major - a parallel to cis-minor. The tonal path typical of a sonata exposition is complicated by the major minor scale of the Adagio.
And yet, being in H-major (with a variable value of the dominant e-moll) determines the thematic nature of the “side part” * (N. S. Nikolaeva writes about the features of sonata in the Adagio form) - singing the sound h in the range of the diminished third c-ais . The poignant harmony of II low is an echo of the opening bars, where in the “hidden” voice there is a revolution in the range of a diminished third.
The analogy with the sonata side part is strengthened due to both the preparedness of the main motive by the previous development, and especially its transposition in the reprise, where it sounds in the same key.

Further development after the “side part” leads in the exposition to a cadence in fis-moll and the middle part, in the reprise - to a cadence in cis-moll and to the coda.
The passionate but restrained conduct at the culmination of the middle part (“development”) of the main thematic recitative core (in the subdominant key) corresponds to the gloomy funeral sound of it in the lower voice in the main key:

Wide-ranging passages at the organ point of the dominant (the prefix before the reprise) correspond to similar figurations in the code.

The individualized form of Adagio cannot be defined unambiguously. Its three-part composition beats with the rhythm of a sonata form. The latter is given as a hint; the order of thematic and tonal development is close to the conditions of the sonata form. Here she seems to be “pushing” for herself a path that was closed to her by the very essence of thematicism and its development. This is how a functional similarity to the sonata form arises. One of the features of the Adagio composition is successfully captured in the metrotectonic analysis of G. E. Konyus - the organ point on the dominant, leading to the reprise, is located exactly in the center of the first parts. Before it - 27, after it - 28 measures. (Konus highlights the last beat in the “spire” *. (This is what the author of the theory of metrotectonism calls the last beats, not in the general symmetrical plan of the form of a musical work.) As a result, a strictly organized structure is created in which the introduction and the unstable beginning of the “left” part of the form are balanced by the coda Indeed, staying within the specified organ point is an essentially noticeable “section of musical action”, and such a “location” organizes the course of musical development and is perceived without much effort.The overall result - the combination of freedom of the compositional process with the rigor of its result - contributes to the impression of deep objective the truth of the embodied image.
A significant role in the unity of expressive and formative functions of Adagio is played by the ostinato violation of squareness within the framework of constructions that go beyond the limits of two-beat. The constant change in the magnitude of phrases and sentences, the dominance of intruding cadences contribute to the illusion of improvisational spontaneity of utterance. This is undoubtedly reflected in the title of the sonata, given by Beethoven himself: Quasi una fantasia.
The famous researcher of Beethoven's work P. Becker writes: “From the combination of fantasy and sonata, Beethoven’s most original creation is born - the fantasy sonata.” P. Becker also notes the improvisational nature of Beethoven's compositional techniques. His statement regarding the finale of “Lunar” is interesting: “In the finale of the cis-moll sonata there is already an innovation that can have a strong influence on the future form of the sonata: this is the improvisational introduction of the main part. It does not exist in the form of a pre-given, ready-made element, as before; it develops before our eyes... thus, in a sonata, the initial passage, which in appearance is only a prelude, develops into a theme through periodic repetition.” Further, P. Becker expresses the idea that improvisation is only an illusion, a specially calculated technique of the composer.
What has been said can be attributed to an even greater extent to the first part. In the finale, her illusory improvisation gives way to strict organization. Only in the main party, as P. Becker notes, traces of the past remain. On the other hand, what could not be realized in Adagio is realized in the finale - Presto.
The decisive shift occurs in the microkernel itself. The unrealized inertial upward movement is realized, a fourth sound appears, closing the figure, breaking the spiral, destroying the triplet.

For accuracy, we note that the first sound in the Adagio melody - cis meets the requirements of linear inertial gravity, but only partially, since it is superimposed on top of the triplet texture. In the finale, this moment of imaginary realization takes the form of an active factor. Instead of 4X3, 4X4 now appears - a “staircase” of rising quartos is created, directed along an ascending line * (V.D. Konen writes about the connection between the arpeggios of the extreme parts).
The finale is the true otherness of Adagio. Everything that in the first part was associated with the spiral, that was limited by it, is now embodied in conditions of free, directed movement. The almost complete identity of the bass voice is striking. In this sense, the main part of the finale is a kind of variation on the featured basso ostinato of the first movement.
Hence the paradoxical nature of thematicism. The function of the main part is combined with the function of the introduction. The role of the main theme is transferred to the secondary part - only in it does an individualized theme appear.
The idea of “otherness” also manifests itself in other ways. The fifth sound of the recitative of the first movement becomes stratified. In the main part of the finale, the fifth tone is realized in two chord strokes, while in the secondary part, the fifth gis is the main persistent sound of its melody. The punctuated rhythm against the background of smooth movement is also the “heritage” of Adagio.
At the same time, the emerging links of the melody are a new melodic version of the extended Adagio formula. The move e1-cis1-his is a reincarnation of the melody of the voice sounding in the prelude to the reprise of Adagio. (This voice, in turn, is associated with the move of the bass in the “side” part of Adagio)
The melody in question is at the same time one of the thematic ideas “floating” in the air. We will find its prototype in the sonata of F.-E. Bach.
The beginning of Mozart's a-moll sonata is also close both in terms of melodic contours and the emotional content hidden behind them.

Let us return, however, to Beethoven. The move from e to his and back is consolidated in the final game in the upper and middle voices.
The brief thematic impulse of Adagio thus stimulates the development of the Presto exhibition. The functional semblance of the sonata form in the Adagio is transformed into the true sonata form of the finale. The rhythm of the sonata form, being constrained by the spiraling movement of the first movement, is released and brings to life the true sonata form of the finale.
The influence of the first part also affects the role of the connecting part Presto. In the exhibition it is only a “technical necessity” for modulation into the dominant key. In the reprise, the internal connection of the finale with the first part is clearly outlined: just as in the Adagio the introduction introduced directly into the main and only theme, so in the reprise of the finale, the former introduction - now the main part - directly introduces the main (but now not the only) theme - the secondary party.

The dynamism of the main artistic idea of the finale requires a broader thematic framework and broader development. Hence the two themes of the final game. The second of them is synthetic. The move e-cis-his is the “heritage” of the pre-actual motif, and the repetition of the fifth is the initial recitative of the first part.

Thus, the entire section of the side and final games of the finale generally corresponds to the development of the only theme of the first movement.
The contours of the sonata form of the finale are also the otherness of the Adagio form. The middle part of the Adagio (a kind of development) consists of two large sections: five bars of the theme in fis-moll and fourteen bars of the dominant organ point. The same thing happens in the finale. The development of the finale (now genuine) consists of two sections: the conduct of the main theme of the finale, its side part in fis-moll with a deviation into the key of II low * (For the role of this harmony, see below) and a 15-bar dominant prefix.
Such a “sparse” tonal plan is atypical for Beethoven’s sonata form in such intensely dramatic music. S. E. Pavchinsky notes both this and other features of the structure of the finale. All of them are explained precisely by the fact that the Presto form is an other being of the Adagio form. But the noted specificity of the tonal plan plays an important role, contributing to the special monolithic nature of both the process of musical development of the sonata as a whole and its crystallized result.
And the coda of the finale is also the otherness of the Adagio coda: again the main theme sounds in the main key. The difference in the form of its presentation corresponds to the ideological difference of the finale: instead of the culmination of hopelessness and sadness of the first part, here is the culmination of dramatic action.
In both extreme parts of “Lunarium” - both in Adagio and Presto - sound and harmony II low play a significant role (for a description of these examples, see V. Berkov’s book “Harmony and Musical Form”). Their initial formative role is to create increased tension at the moment of development, often its culmination. The first bar of the introduction is the initial core. Its variant development, based on a descending bass, leads at the climax to the Neapolitan sixth chord - this is the moment of the greatest divergence of the extreme voices, the emergence of an octave between them. It is also important that this moment is the point of the golden section of the initial four-beat. Here is the beginning of the middle voice d-his-cis, singing the reference sound within the smallest possible intervals - a diminished third, which creates a special condensed intonation tension that well corresponds to the culminating position of this moment.

The "side part" of the Allegro is the beginning of the development that occurs after the modulating period (the "main part"). A combination of functions operates here (“switching functions” according to BF Asafiev). The moment of development - the "side game" - is connected with a new thematic impulse. The singing progression of the introduction IIn - VIIv - I sounds (slightly differently) in the upper voice. (This moment coincides with the point of the golden section of the “esposition” (vol. 5-22): 12 measures out of 18 (11 + 7).) This motive compels remember Kyrie No. 3 from Bach's B-minor Mass - another example of a connection with the art of the great polyphonist.

Thanks to the organ point in the bass, a poignant dissonance of the minor none is formed on the tonic. Thus, the development of Neapolitan harmony creates an impulse for the emergence of a small non-chord - the second leitharmony of the extreme parts. From now on, the moments of climax will be marked by both leitharmonies, and II low will receive a new functional meaning - a pre-cadence turn, which appears at the end of the Adagio exposition.

In the middle section of the Adagio (“development”), the harmony of the dominant non-chord comes to the fore, forming a zone of quiet climax and pushing aside the Neapolitan harmony.

All the brighter is the appearance of the sound d as the last variant of the melodic move d-his-cis.

Movement in the range of diminished third d-his functions as a harbinger of reprise. Its onset was anticipated earlier, but re-bekar with complete inevitability and necessity draws us to a return. Here the measurement of time is combined with the expression of inevitability, predetermination, and irreversibility of the passage of time.

In the reprise, the role of the second low is strengthened - the idea of singing in the volume of a reduced third is fixed in the cadence. Therefore, a similar move in a “side game” sounds like a variant of the previous one.

As a result, another type of switching of functions arises - what was at the end is reintonated into a thematic impulse.

So, the revolution with the second low and singing in the volume of the diminished third, having begun as a moment of development, by the end of the Adagio covers all three functions - thematic impulse, development and completion. This reflects his fundamentally important role for Adagio.
The code is a reflection of "development". As has been shown, the fifth recitative sounds in the lower voice. The appearance of harmony in a dominant non-chord also corresponds to the principle of “reflection”.

In the finale, the dialectic of development of the two leitharmonies brings to life the dynamic forms of their manifestation. The second low as a development factor creates a turning point in the side game of the final. This sharply emphasized moment coincides with the culmination not only of this theme, but of the entire exposition. The location of II low in this case is exactly the middle of the exposure (32+32), that is, also a mathematically determined point.
Participation in the final turn is an addition to the first theme of the final game.
In the development of the finale, the role of II low becomes extremely significant - Neapolitan harmony, performing the function of development, already creates the tonality of II low from the subdominant - G-dur. This is the harmonic culmination of the entire finale.
In the coda, there is a struggle between two leitharmonies for dominance. The non-chord wins.

Let us now move on to a consideration of thematic themes and their development within the second part of “Lunar”.
Allegretto assumes a soft and leisurely sound; we must not forget that the tempo designation refers to quarter notes.
The contrast that the Allegretto introduces into the cycle is created by many factors: the eponymous major (Des-dur), unchanged throughout the entire movement, the ostinato amphibrachic rhythm formula
quarter I half quarter I half. However, the grouping of three-quarter bars of four links the Adagio with the Allegretto - here also 4X3. The connection with the first part is strengthened by the motivic similarity of the themes*.

It can be seen that the fifth progression from V to I in the Adagio is replaced in the Allegretto by passing seconds. As an echo of the Adagio, a revolution with a diminished third appears in the second movement.

If we take into account the mournful nature of the Adagio, its distant connections with the Marcia funebre of the Twelfth Sonata, attacca in the transition to the Allegretto, then we can understand the second movement as a kind of cyclic trio in relation to the first movement. (After all, a trio in the key of the same major is typical for a funeral march.) This is also facilitated by the figurative monolithic nature of the Allegretto, associated with the lack of figurative contrast. The thematic development within the Allegretto, although based on an intonation connection with the Adagio, leads to the formation of intonations contrasting with it, appears here a move associated with the “encircling” minor seventh b-c. It is prepared at the end of the first section of the Allegretto and is finally established in the trio.
But due to the fact that the minor seventh sounds on the dominant bass, a major dominant non-chord is formed. Together with the echo of the move within the diminished third, they both become, as it were, major versions of the two leitharmonic and leitintonation formations of the Adagio.
As a result, Allegretto, appearing without interruption in the role of a cyclic trio, contains those elements of intonation community that are typical for both parts of the cycle and the trio.

A retreat is necessary here. The trio as part of a complex three-part form is the only section in non-cyclic, one-part forms that is genetically related to the suite (it is known that one of the sources of the complex three-part form is the alternation of 2 dances with the repetition of the first of them: for example, Minuet I, Minuet II , da capo), the only new topic in a non-cyclical form, arising on the basis not of “switching”, but of “disabling” functions. (when switching functions, a new theme appears as a moment of development of the previous one (for example, a side part); when turning off functions, the development of the previous one is completely completed, and the subsequent theme appears as if anew). But parts of the sonata cycle also exist on the basis of the same principle. Therefore, the genetic and functional connection between the parts of complex tripartite and cyclic forms facilitates the possibility of their interreversibility.
Understanding Allegretto as a cyclic trio, and Presto as an other being of Adagio allows us to interpret the entire three-part cycle “Lunarium” as a combination of the functions of cyclic and complex three-part forms. (There is actually no break between the second and third movements. The German researcher I. Mies writes: “It can be assumed that Beethoven forgot to write “attacca” between the second and third movements.” He then gives a number of arguments in defense of this opinion).

The local functions of the three movements are the first movement, the trio and the dynamized reprise of the gigantic complex three-part form. In other words, the relationship of all three parts of the “Lunar” is functionally similar to the relationship of the sections of the three-part form with a contrasting trio.
In the light of this compositional idea, both the unique specificity of the “Lunar” cycle and the fallacy of understanding it as a cycle “without the first part”** become clear (See editorial notes by A. B. Goldenweiser).

The proposed interpretation of the “Lunar” cycle explains its unique unity. It is also reflected in the “sparse” tonal plan of the sonata as a whole:

cis-Н-fis-cis-cis-cis

cis-gis-fis - (G)-cis-cis-cis
In this tonal plan, we should first of all note the fis-moll in the center of the shape of the outer parts. The appearance of the gis-minor finale in the exhibition is extremely refreshing. Such a natural - dominant - tonality appears quite late. But the stronger its impact.
The unity of the sonata cycle of the cis-minor sonata is enhanced by a single rhythmic pulsation (which, by the way, is also typical for classical examples of a complex three-part form). In the footnotes to the sonata, A. B. Goldenweiser notes: “In the C sharp minor sonata, although perhaps with less literalness than in E flat major, one can also approximately establish a single pulsation throughout the entire sonata: triplets the eighths of the first movement are, as it were, equal to the quarters of the second, and a whole bar of the second movement is equal to the half note of the finale.”
But the difference in tempos creates conditions for the opposite direction of a single rhythmic movement.
The expressive significance of metrhythmic factors in Adagio was mentioned above. The difference between the extreme parts is reflected primarily in the microstops of figuration indicated above: the dactyl Adagio is contrasted with the fourth peon Presto - a foot that contributes to the effect of a continuously storming movement (as, for example, in the development of the first movement of Beethoven’s Fifth Piano Sonata or within the first movement of his Fifth Symphony ). In combination with the Presto tempo, this foot contributes to the birth of the image of forward movement.
Rhythmic continuity, the tendency to implement an individualized theme through general forms of melodic movement, is one of the typical properties of many finales of sonatas and symphonies.

It is caused each time by the dramaturgy of a given cycle, but one can still detect a single guiding tendency - the desire to dissolve the personal in the universal, mass - in other words, the desire for more generalized forms of expressive means. This is explained, among other things, by the fact that the finale is the last part. The function of completion requires one form or another of generalization, bringing to a conclusion. A visual-pictorial analogy is possible here. When moving away from the object of the image, when conveying a mass, collective (for example, a crowd of people), detail gives way to broader strokes, more general contours. The desire to embody an image of a philosophically generalized nature also often leads to continuity of movement in the final moments. Individual differences and thematic contrasts of the preceding parts dissolve in the vastness of the continuous movement of the finale. In the last part of “Lunar”, continuous movement is broken only twice at the edges of the reprise and the final section of the coda*. (Here dactylic three-bars of the highest order appear instead of constantly acting trochaic two-bars. This is also an echo of the Adagio, in which a similar movement occurs before the dominant organ point. Then the rhythmic and dynamic fracture creates an “explosion” - the third, decisive link of the Beethoven triad.) In otherwise it either takes over the entire texture, or, like the Adagio, coexists with the melody of the upper voice.

If the continuity of the slow movement was associated with spiritual introspection and self-deepening, then the continuity of the rapid movement of the finale is explained by the psychological orientation outward, into the world around a person - so in the mind of the artist, who embodies the idea of an active invasion of the individual into reality, the images of the latter take the form of a certain summary general background, coexisting with emotionally charged personal statements. The result is a rare combination of final generality with proactive and active development inherent in the first parts.
If we start from the Adagio and Presto of “Moonlight” as the extreme poles in the expression of rhythmic continuity, then at the middle point there is the sphere of lyrical moto perpetuo, embodied in the finale of Beethoven’s Sonata in d minor. The movement in the range of the lyrical sixth of the first movement of the “Lunar” takes here a more individualized and lyrically emphasized form, embodied in the initial motive of the finale of the Seventeenth Sonata, in its first splash, giving birth to a boundless ocean.
In “Lunar” the continuous movement of Presto is not so objective; its passionate romantic pathos arises from the familiar idea of angry protest, the activity of struggle.
As a result, the seeds of the future are ripening in the music of the finale of the cis-minor Sonata. The passion for expressing Beethoven's finales ("Moonlight", "Appassionata"), as well as one of the forms of its expression - moto perpetuo, was inherited by Robert Schumann. Let us recall the extreme parts of his Sonata in fis-moll, the piece “In der Nacht” and a number of similar examples.

Our analysis is complete. To the extent possible, he proved the dramatic plan of the unique work being analyzed, postulated at the beginning of the article.
Leaving aside the version of the connection between the content of the sonata and the image of Juliet Guicciardi (the dedication is only in rare cases connected with the artistic essence of the work) and any attempt at a plot interpretation of such a philosophical and generalized work, we will take the last step in revealing the main idea of the considered work.
In a large, significant piece of music one can always see the features of the spiritual appearance of its creator. Of course, both time and social ideology. But both of these factors, like many others, are implemented through the prism of the composer’s individuality and do not exist outside of it.
The dialectic of Beethoven's triad reflects the personality traits of the composer. In this Man, the harshness of uncompromising decisions, violent outbursts of a quarrelsome character coexist with deep spiritual tenderness and cordiality: an active nature, always looking for activity, with the contemplation of a philosopher.
Brought up on the freedom-loving ideas of the late 18th century, Beethoven understood life as a struggle, a heroic act as overcoming constantly emerging obstacles. High citizenship is combined in this great man with the most earthly and immediate love for life, for the earth, for nature. Humor, no less than philosophical insight, accompanies him in all the vicissitudes of his complex life. The ability to elevate the ordinary - a property of all great creative souls - is combined in Beethoven with courage and powerful willpower.
The ability to make quick decisions found direct expression in the third element of his dramaturgy. The very moment of the explosion is dialectical in essence - in it there is an instant transition from quantity to quality. Accumulated, long-held tension leads to a contrasting shift in mental state. At the same time, the combination of actively effective volitional tension with external calm is surprising and new in the history of musical embodiment. In this sense, Beethoven's pianissimos are especially expressive - the profound concentration of all spiritual forces, the powerful volitional restraint of bubbling internal energy. (An example of this is the “struggle” of two motives in the main part “Appassionata” - the moment of structural fragmentation before the unifying and final explosion - the sixteenth passage; the first proposal of the main part from the Fifth Symphony before the explosion-motive). The next rhythmic and dynamic fracture creates an “explosion” - the third, decisive link of the Beethoven triad.
The peculiarity of the dramaturgy of the cis-moll sonata is, firstly, that between the state of concentrated tension and its release there is an intermediate stage - Allegretto. Secondly, in the very nature of concentration. Unlike all other cases, this stage arises as initially given) and, most importantly, combines many of the properties of the Beethoven spirit - philosophical severity, dynamic concentration with an expression of the deepest tenderness, passionate desire for impossible happiness, active love. The image of the funeral procession of humanity, the movement of centuries, is inextricably linked with the feeling of personal grief. What is primary, what is secondary? What exactly was the impetus for composing the sonata? This is not given to us to know... But this is not essential. A genius on a human scale, expressing himself, embodies the universal. Any particular circumstance that served as an impetus for the creation of an artistic concept becomes only an external reason.

The role of the Allegretto as a mediating link between concentration and “explosion” in the cis-minor Sonata and the role of the “Dante formula” have been discussed. But in order for this formula to be put into action, precisely those properties of Beethoven’s human nature that have been described are necessary - his immediate love for the earth and its joys, his humor, his ability to laugh and rejoice in the very fact (“I live” ). Allegretto combines elements of a minuet - not a solemn aristocratic, but a folk one - a minuet that was danced in the open air, and a scherzo - manifestations of humor and joyful laughter.
Allegretto condenses the most important aspects of Beethoven's spirit. Let us remember his major allegri of many sonatas, imbued with laughter, play, and jokes. Let's name the 2nd, 4th, 6th, 9th sonatas... Let's remember his minuets and scherzos of approximately the same opuses.
It was only because Beethoven's music had such a powerful reserve of kindness and humor that it was possible that the short and outwardly modest Allegretto caused such a decisive shift. It was the opposition of mournful and tender concentration to the manifestation of love - simple and humane - that could give rise to the rebellion of the finale.
From this stems the incredible difficulty of performing AIIegretto. This short moment of musical time, devoid of contrasts and dynamics, embodies the richest life content, an essential aspect of Beethoven’s worldview.
The “explosion” in “Lunarium” is a manifestation of noble anger: the finale combines the mental pain expressed in the first part with a call to fight, to overcome the conditions that give rise to this pain. And this is the most important thing: the activity of Beethoven’s spirit gives rise to faith in life, admiration for the beauty of the struggle for its rights - the highest joy available to man.
Our analysis was based on the idea of Presto as an other being of Adagio. But leaving aside all these factors, based only on emotional-aesthetic comprehension and psychological plausibility, we will arrive at the same thing. Great souls have great hatred - the other side of great love.
Usually the dramatic first part reflects life conflicts in a stormy dramatic aspect. The uniqueness of the dramaturgy of the cis-minor sonata lies in the fact that the response to the contradictions of reality, to the evil of the world is embodied in two aspects: the rebellion of the finale is the otherness of the mournful steadiness of the Adagio, and both of them together are the otherness of the idea of good, a kind of proof against the contrary of its strength and indestructibility .
So, the sonata “Quasi una fantasia” reflects the dialectic of the great soul of its author in a unique form, created only once.
But the dialectic of Beethoven’s spirit, with all its exclusivity, could take such a form only in the conditions of its time - from the crossing of socio-historical factors generated by the awakened forces of great world events, philosophical awareness of the new tasks facing humanity and, finally, immanent laws evolution of musical expressive means. The study of this trinity in connection with Beethoven is possible, of course, on the scale of his work as a whole. But even within the framework of this article, one can still express a number of thoughts on this matter.
“Lunar” expresses ideological content on a pan-human scale. The sonata intersects connections with the past and the future. Adagio bridges the gap to Bach, Presto to Schumann. The system of expressive means of the work under study connects the music of the 17th-19th centuries and remains creatively viable (which can be proven in a special analysis) in the 20th century. In other words, the sonata concentrates the expression of that common, undying thing that unites the artistic thinking of such different eras. Therefore, Beethoven’s work once again proves the simple truth that brilliant music, reflecting contemporary reality, raises the problems it poses to the height of universal generalization, and notes the eternal in today’s (in the conventional sense of the word).
The ideas that worried the young Beethoven, which determined his worldview for the rest of his life, arose in him at an essential time. These were the years when the great liberation principles and postulates were not yet distorted by the course of history, when they appeared in their pure form in the minds that greedily absorbed them. In light of this, it is extremely important that the world of ideas and the world of sounds were completely united for the composer. B.V. Asafiev wrote about this beautifully: “His (Beethoven - V.B.) creative artistic construction is so closely connected with life sensations and with the intensity of reactions and responses to the surrounding reality that there is no possibility or need to separate Beethoven - the master and the architect of music from Beethoven the man, who reacted nervously to impressions, which determined by their force the tone and structure of his music. Beethoven's sonatas are therefore deeply relevant and vitally meaningful. They are a laboratory in which the selection of life impressions took place in the sense of the great artist’s response to feelings that outraged or pleased him and to phenomena and events that elevated his thought. And since Beethoven developed high ideas about the rights and responsibilities of man, then, naturally, this sublime structure of mental life was reflected in music.”

Beethoven's musical genius was in close union with his ethical talent. The unity of the ethical and aesthetic is the main condition for the emergence of creations on a pan-human scale. Not all major masters express the unity of a conscious ethical principle and aesthetic perfection in their work. The combination of the latter with a deep belief in the truthfulness of the great ideas reflected in the words “embrace, millions,” is the peculiarity of the inner world of Beethoven’s music.
In the cis-moll sonata, the main components of the specific combination of conditions described above create a musical, ethical and philosophical image that is unique in its laconicism and generality. It is impossible to name another work of a similar plan from Beethoven's sonatas. The dramatic sonatas (First, Fifth, Eighth, Twenty-third, Thirty-second) are united by a single line of stylistic development and have common points. The same can be said about a series of cheerful sonatas imbued with humor and an immediate love of life. In this case, we have before us a single phenomenon*.

Beethoven's truly universal artistic personality combines all types of expressiveness characteristic of his era: the richest spectrums of lyricism, heroism, drama, epicness, humor, spontaneous cheerfulness, and pastoralism. All this, as if in focus, is reflected in the single triadic dramatic formula of “Lunarium”. The ethical significance of the sonata is as enduring as its aesthetic one. This work captures the quintessence of the history of human thought, a passionate belief in goodness and life, captured in an accessible form. All the immeasurable philosophical depth of the sonata’s content is conveyed by simple music that goes from heart to heart, music that is understandable to millions. Experience shows that "Lunar" captures the attention and imagination of those who remain indifferent to many other works of Beethoven. The impersonal is expressed through the most personal music. The extremely generalized becomes extremely universally significant.

L. Beethoven “Moonlight Sonata”

Today there is hardly a person who has never heard the “Moonlight Sonata” Ludwig van Beethoven , because this is one of the most famous and beloved works in the history of musical culture. Such a beautiful and poetic name was given to the work by music critic Ludwig Relstab after the composer’s death. And to be more precise, not the entire work, but only its first part.

History of creation "Moonlight Sonata" Read Beethoven, the contents of the work and many interesting facts on our page.

History of creation

If about another of Beethoven's most popular works bagatelles Difficulties arise when trying to find out who exactly it was dedicated to, then everything is extremely simple. Piano Sonata No. 14 in C sharp minor, written in 1800-1801, was dedicated to Giulietta Guicciardi. The maestro was in love with her and dreamed of marriage.

It is worth noting that during this period the composer began to increasingly experience hearing impairment, but he was still popular in Vienna and continued to give lessons in aristocratic circles. He first wrote about this girl, his student, “who loves me and is loved by me,” in November 1801 to Franz Wegeler. 17-year-old Countess Giulietta Guicciardi and met at the end of 1800. Beethoven taught her the art of music, and did not even take money for it. In gratitude, the girl embroidered shirts for him. It seemed that happiness awaited them, because their feelings were mutual. However, Beethoven’s plans were not destined to come true: the young countess preferred him to a more noble man, the composer Wenzel Gallenberg.

The loss of his beloved woman, increasing deafness, collapsed creative plans - all this fell on the unfortunate Beethoven. And the sonata, which the composer began to write in an atmosphere of inspiring happiness and trembling hope, ended with anger and rage.

It is known that it was in 1802 that the composer wrote the very “Heiligenstadt Testament”. This document brings together desperate thoughts about impending deafness and unrequited, deceived love.

Surprisingly, the name “Moonlight” was firmly attached to the sonata thanks to the Berlin poet, who compared the first part of the work with the beautiful landscape of Lake Firwaldstätt on a moonlit night. It’s curious, but many composers and music critics opposed this name. A. Rubinstein noted that the first part of the sonata is deeply tragic and most likely shows the sky with thick clouds, but not moonlight, which in theory should express dreams and tenderness. Only the second part of the work can, with a stretch, be called moonlight. The critic Alexander Maikapar said that the sonata does not have that same “lunar glow” that Relshtab spoke about. Moreover, he agreed with Hector Berlioz’s statement that the first part most resembles a “sunny day” rather than night. Despite the protests of critics, it was this name that stuck with the work.

The composer himself gave his work the title “sonata in the spirit of fantasy.” This is due to the fact that the usual form for this work was broken and the parts changed their sequence. Instead of the usual “fast-slow-fast”, the sonata develops from a slow part to a more mobile one.

Interesting Facts

It is known that only two titles of Beethoven’s sonatas belong to the composer himself - these are “ Pathetic " and "Farewell".
The author himself noted that the first part of “Lunar” requires the most delicate performance from the musician.
The second part of the sonata is usually compared to the dances of the elves from Shakespeare's A Midsummer Night's Dream.
All three movements of the sonata are united by the finest motivic work: the second motive of the main theme from the first movement sounds in the first theme of the second movement. In addition, many of the most expressive elements from the first part were reflected and developed in the third.
It is curious that there are many options for the plot interpretation of the sonata. The image of the Relshtab received the greatest popularity.
In addition, one American jewelry company has released a stunning necklace made of natural pearls, called the “Moonlight Sonata”. How do you like coffee with such a poetic name? A well-known foreign company offers it to its visitors. And finally, even animals are sometimes given such nicknames. Thus, a stallion bred in America received such an unusual and beautiful nickname as “Moonlight Sonata”.

Some researchers of his work believe that in this work Beethoven anticipated the later work of Romantic composers and call the sonata the first nocturne.
Famous composer Franz Liszt called the second part of the sonata “A flower among the abyss.” Indeed, some listeners think that the introduction is very similar to a barely opened bud, and the second part is the flowering itself.
The name “Moonlight Sonata” was so popular that it was sometimes applied to things completely remote from music. For example, this phrase, familiar and familiar to every musician, was the code word for the air raid in 1945 carried out on Coventry (England) by the German invaders.

In the “Moonlight” Sonata, all the features of composition and dramaturgy depend on the poetic intent. At the center of the work is a spiritual drama, under the influence of which the mood changes from mournful self-absorption, thoughts constrained by sadness, to violent activity. It is in the finale that that same open conflict arises; in fact, to show it, it was necessary to rearrange parts in order to enhance the effect and drama.

First part– lyrical, it is completely focused on the feelings and thoughts of the composer. Researchers note that the manner in which Beethoven reveals this tragic image brings this part of the sonata closer to Bach’s chorale preludes. Listen to the first part, what image did Beethoven want to convey to the public? Of course, the lyrics, but they are not light, but slightly tinged with sorrow. Maybe these are the composer’s thoughts about his unfulfilled feelings? It’s as if listeners are momentarily immersed in another person’s dream world.

The first part is presented in a prelude-improvisational manner. It is noteworthy that in this entire part only one image dominates, but it is so strong and laconic that it does not require any explanation, only concentration on itself. The main melody can be called sharply expressive. It may seem that it is quite simple, but it is not. The melody is complex in intonation. It is noteworthy that this version of the first part is very different from all his other first parts, since there are no sharp contrasts, transitions, only a calm and leisurely flow of thought.

However, let’s return to the image of the first part; its mournful detachment is only a temporary state. Incredibly intense harmonic movement, renewal of the melody itself speaks of an active inner life. How could Beethoven be in a state of grief and reminisce for so long? The rebellious spirit must still make itself felt and throw out all the raging feelings outward.

The next part is quite small and is built on light intonations, as well as the play of light and shadow. What's behind this music? Perhaps the composer wanted to talk about the changes that took place in his life thanks to meeting a beautiful girl. Without a doubt, during this period of true love, sincere and bright, the composer was happy. But this happiness did not last long at all, because the second part of the sonata is perceived as a short respite in order to enhance the effect of the finale, which burst in with all its storm of feelings. It is in this part that the intensity of emotions is incredibly high. It is noteworthy that the thematic material of the finale is indirectly connected with the first part. What emotions does this music evoke? Of course, there is no more suffering and sorrow here. This is an explosion of anger that covers all other emotions and feelings. Only at the very end, in the coda, all the drama experienced is pushed deeper into the depths by an incredible effort of will. And this is already very similar to Beethoven himself. In a swift, passionate impulse, menacing, plaintive, excited intonations rush through. The whole spectrum of emotions of the human soul that has experienced such a severe shock. It’s safe to say that a real drama is unfolding before the listeners.

Interpretations

Throughout its existence, the sonata has always aroused constant delight not only among listeners, but also among performers. She was highly valued by such famous musicians as Chopin , Leaf, Berlioz . Many music critics characterize the sonata as “one of the most inspired”, possessing “the rarest and most beautiful of privileges - to please the initiated and the profane.” It is not surprising that throughout its existence, many interpretations and unusual performances have appeared.

Thus, the famous guitarist Marcel Robinson created an arrangement for guitar. The arrangement gained great popularity Glenn Miller for jazz orchestra.

“Moonlight Sonata” in a modern arrangement by Glenn Miller (listen)

Moreover, the 14th sonata entered Russian fiction thanks to Leo Tolstoy (“Family Happiness”). Such famous critics as Stasov and Serov studied it. Romain Rolland also dedicated many inspired statements to her while studying Beethoven's work. What do you think of the representation of the sonata in sculpture? This also turned out to be possible thanks to the work of Paul Bloch, who presented his marble sculpture of the same name in 1995. The work was also reflected in painting, thanks to the work of Ralph Harris Houston and his painting “Moonlight Sonata”.

The final " Moonlight Sonata" - the raging ocean of emotions in the soul of the composer - we will listen. For starters, the original sound of the work performed by the German pianist Wilhelm Kempff. Just look how Beethoven’s wounded pride and impotent rage are embodied in the passages rapidly soaring up the piano keyboard...

Video: listen to “Moonlight Sonata”

Now imagine for a moment if you lived today and chose another musical instrument to recreate these emotions. Which one, you ask? The same one who today is the leader in the embodiment of emotionally heavy music, overflowing with emotions and seething with passions - the electric guitar. After all, no other instrument can so vividly and accurately depict a swift hurricane, sweeping away all feelings and memories in its path. What would come of this - see for yourself.

Modern guitar processing

Without a doubt, Beethoven's is one of the composer's most popular works. Moreover, it is one of the brightest compositions of all world music. All three parts of this work are an inextricable feeling that grows to a real menacing storm. The characters of this drama, as well as their feelings, are alive to this day, thanks to this wonderful music and immortal work of art created by one of the greatest composers.

The heroic-dramatic line does not exhaust all the versatility of Beethoven's quest in the field of the piano sonata. The content of "Lunar" is connected with something else, lyric-dramatic type.

This work became one of the composer's most stunning spiritual revelations. At the tragic time of the collapse of love and the irreversible decline of hearing, he spoke here about himself.

The Moonlight Sonata is one of the works in which Beethoven sought new ways to develop the sonata cycle. He called her sonata-fantasy, thereby emphasizing the freedom of composition, which deviates far from the traditional scheme. The first movement is slow: the composer abandoned the usual sonata style in it. This is an Adagio, completely devoid of the figurative and thematic contrasts typical of Beethoven, and this is very far from the first part of the “Pathetique”. This is followed by a small Allegretto of a minuet nature. The sonata form, saturated with extreme drama, is “reserved” for the finale, and it is this that becomes the culmination of the entire composition.

The three parts of “Lunar” are three stages in the process of developing one idea:

Part I (Adagio) - mournful awareness of life's tragedy;
Part II (Allegretto) - pure joy that suddenly flashed before the mind's eye;
Part III (Presto) - psychological reaction: mental storm, outburst of violent protest.

That immediate, pure, trusting thing that Allegretto brings with it instantly ignites Beethoven’s hero. Having woken up from his sorrowful thoughts, he is ready to act and fight. The last movement of the sonata turns out to be the center of drama. It is here that all figurative development is directed, and even in Beethoven it is difficult to name another sonata cycle with a similar emotional buildup towards the end.

The rebellion of the finale, its extreme emotional intensity turns out to be the other side of the silent grief of Adagio. What is concentrated within itself in the Adagio breaks outward in the finale, this is the release of the internal tension of the first part (a manifestation of the principle of derivative contrast at the level of the relationship between the parts of the cycle).

1 part

IN Adagio Beethoven's favorite principle of dialogical oppositions gave way to lyrical monologue - the one-theme principle of solo melody. This speech melody, which “sings while crying” (Asafiev), is perceived as a tragic confession. Not a single pathetic exclamation disturbs inner concentration, grief is strict and silent. In the philosophical fullness of the Adagio, in the very silence of grief, there is much in common with the drama of Bach’s minor preludes. Like Bach, the music is full of internal, psychological movement: the size of phrases is constantly changing, tonal-harmonic development is extremely active (with frequent modulations, intruding cadences, contrasts of the same modes E - e, h - H). Interval relationships sometimes become emphatically acute (m.9, b.7). The ostinato pulsation of the triplet accompaniment also originates from Bach’s free prelude forms, at times coming to the fore (the transition to the reprise). Another textured layer of Adagio is the bass, almost passacal, with a measured descending step.

There is something mournful in Adagio - the dotted rhythm, asserted with particular insistence in the conclusion, is perceived as the rhythm of a funeral procession. Form Adagio 3x-particular of developmental type.

part 2

Part II (Allegretto) is included in the “Lunar” cycle, like a bright interlude between two acts of the drama, highlighting their tragedy by contrast. It is designed in lively, serene tones, reminiscent of a graceful minuet with a playful dance melody. The complex 3x-partial form with trio and reprise da capo is also typical for the minuet. In terms of imagery, Allegretto is monolithic: the trio does not introduce contrast. Throughout the Allegretto, Des-dur is preserved, enharmonically equal to Cis-dur, the same name of the Adagio key.

The final

The extremely tense finale is the central part of the sonata, the dramatic culmination of the cycle. The principle of derivative contrast manifested itself in the relationship between the extreme parts:

despite their tonal unity, the color of the music is sharply different. The mutedness, transparency, and “delicacy” of Adagio are opposed by the frantic sound avalanche of Presto, full of sharp accents, pathetic exclamations, and emotional explosions. At the same time, the extreme emotional intensity of the finale is perceived as the tension of the first part breaking through in all its power;
the extreme parts are combined with an arpeggiated texture. However, in Adagio she expressed contemplation and concentration, and in Presto she contributes to the embodiment of mental shock;
the original thematic core of the main part of the finale is based on the same sounds as the melodious, undulating beginning of the 1st movement.

The sonata form of the finale of “Lunarium” is interesting because of the unusual relationship of the main themes: the leading role from the very beginning is played by a secondary theme, while the main one is perceived as an improvisational introduction of a toccata nature. It is an image of confusion and protest, given in a rushing stream of rising waves of arpeggios, each of which ends abruptly with two accented chords. This type of movement comes from prelude improvisational forms. The enrichment of sonata drama with improvisation is observed in the future - in the free cadences of the reprise and especially the coda.

The melody of the side theme sounds not as a contrast, but as a natural continuation of the main part: the confusion and protest of one theme results in a passionate, extremely excited statement of another. The secondary theme, compared to the main one, is more individualized. It is based on pathetic, verbally expressive intonations. Accompanied by a secondary theme, the continuous toccata movement of the main part is maintained. The secondary key is gis-moll. This tonality is further consolidated in the final theme, in the offensive energy of which the heroic pulse is palpable. Thus, the tragic appearance of the finale is revealed already in its tonal plane (the exclusive dominance of the minor).

The predominant role of the side is also emphasized in the development, which is almost exclusively based on a single topic. It has 3 sections:

introductory: this is a short, only six bars of the main theme.
central: development of a secondary theme, which takes place in different keys and registers, mainly in low.
big pre-reprise precursor.

The role of the climax of the entire sonata is played by code, its scale exceeding development. In the code, similar to the beginning of development, the image of the main part fleetingly appears, the development of which leads to a double “explosion” on a diminished seventh chord. And again a side topic follows. Such a persistent return to one topic is perceived as an obsession with one idea, as an inability to distance oneself from overwhelming feelings.

History of writing

The sonata consists of three movements:

2. Allegretto - the second movement of the sonata.

For insufficiently sensitive students, the “consoling” mood of the second movement easily turns into an entertaining scherzando, which is fundamentally contrary to the meaning of the work. I have heard this interpretation dozens, if not hundreds of times. In such cases, I usually remind the student of Liszt’s catchphrase about this allegretto: “This is a flower between two abysses,” and I try to prove to him that this allegory is not accidental, that it surprisingly accurately conveys not only the spirit, but also the form of the composition, for the first bars the melodies resemble the involuntarily opening cup of a flower, and the subsequent ones resemble leaves hanging on the stem. Please remember that I never “illustrate” music, that is, in this case I am not saying that this music is a flower - I am saying that it can evoke a spiritual, visual impression of a flower, symbolize it, suggest to the imagination the image of a flower.

— Heinrich Neuhaus, “On the art of piano playing”

I forget to say that this sonata also contains a scherzo. One cannot help but wonder how this scherzo, which has nothing to do with either the previous or the subsequent one, got mixed up here. “It is a flower between two abysses,” said Leaf. Perhaps! But such a place, I believe, is not very impressive for a flower, so from this side Mr. Liszt’s metaphor may not be entirely wrong.

Alexander Serov

3. Presto agitato - third movement of the sonata.

A sudden adagio... piano... The man, driven to the extreme, falls silent, his breathing stops. And when, after a minute, breathing comes to life and the person rises, the futile efforts, sobs, and riots are over. Everything has been said, the soul is devastated. In the last bars, only majestic power remains, conquering, taming, accepting the flow.

Romain Rolland

Impact on culture

Famous artists

Wilhelm Kempff, YouTube video ;
Glenn Gould, YouTube video ;
Valentina Lisitsa, YouTube video ;
Emil Gilels, YouTube video.

Notes

Links

Piano sonatas by Ludwig van Beethoven

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See what “Piano Sonata No. 14 (Beethoven)” is in other dictionaries:

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This romantic name for the sonata was given not by the author himself, but by the music critic Ludwig Relstab in 1832, after Beethoven’s death.

But the composer’s sonata had a more prosaic name:Piano Sonata No. 14 in C sharp minor, op. 27, no. 2.Then they began to add to this name in parentheses: “Lunar”. Moreover, this second name concerned only its first part, the music of which seemed to the critic to be similar to moonlight over Lake Firvaldstätt - this is a famous lake in Switzerland, which is also called Lucerne. This lake is in no way connected with the name of Beethoven, it’s just a game of associations.

So, “Moonlight Sonata”.

Creation history and romantic overtones

Sonata No. 14 was written in 1802 and dedicated to Giulietta Guicciardi (Italian by birth). Beethoven gave music lessons to this 18-year-old girl in 1801 and was in love with her. Not just in love, but had serious intentions of marrying her, but she, unfortunately, fell in love with someone else and married him. She later became a famous Austrian pianist and singer.

Art historians believe that he even left a will in which he calls Juliet his “immortal beloved” - he sincerely believed that his love was mutual. This can be seen from Beethoven’s letter dated November 16, 1801: “The change that has now taken place in me is caused by a sweet, wonderful girl who loves me and is loved by me.”

But when you listen to the third movement of this sonata, you understand that at the time of writing the work, Beethoven no longer experienced any illusions regarding reciprocity on the part of Juliet. But first things first…

The form of this sonata is somewhat different from the classical sonata form. And Beethoven emphasized this in the subtitle “in the spirit of fantasy.”

Sonata form is a musical form that consists of 3 main sections: the first section is called exposition, it contrasts the main and secondary parties. Second section - development, these themes are developed in it. Third section - reprise, the exposure is repeated with changes.

"Moonlight Sonata" consists of 3 movements.

1 part Adagio sostenuto– slow musical tempo. In classical sonata form, this tempo is usually used in the middle movement. The music is slow and rather mournful, its rhythmic movement is somewhat monotonous, which does not really correspond to Beethoven's music. But the bass chords, melody and rhythm miraculously create a living harmony of sounds that so captivate any listener and remind of the magical moonlight.

part 2 Allegretto– moderately brisk pace. There is some kind of hope and uplifting feeling here. But it does not lead to a happy outcome, as the last, third part will show.

Part 3 Presto agitato– very fast, excited pace. In contrast to the playful mood of the Allegro tempo, Presto usually sounds bold and even aggressive, and its complexity requires a virtuoso level of mastery of the musical instrument. Writer Romain Rolland described the last part of Beethoven’s sonata interestingly and figuratively: “A man driven to the extreme falls silent, his breathing stops. And when, after a minute, breathing comes to life and the person rises, the futile efforts, sobs, and riots are over. Everything has been said, the soul is devastated. In the last bars, only majestic power remains, conquering, taming, accepting the flow.”

Indeed, this is a strong stream of feelings, in which there is despair, hope, frustration and the inability to express the pain that a person experiences. Amazing music!

Modern perception of Beethoven's Moonlight Sonata

Beethoven's Moonlight Sonata is one of the most popular works of world classical music. It is often performed at concerts, it is heard in many films, plays, figure skaters use it for their performances, and it sounds in the background in video games.

The performers of this sonata were the most famous pianists in the world: Glenn Gould, Vladimir Horowitz, Emil Gilels and many others.

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