Ludwig van Beethoven (German: 16 December 1770 – 26 March 1827) was a German classical music composer and pianist who was the culmination of classicism. He composed 9 numbered symphonies, 35 piano sonatas (the last 32 of which are numbered), 10 violin sonatas, 16 string quartets, 1 opera, 2 Mass, and so on. These works had a profound impact on the development of music. In the Chinese-speaking world, Beethoven is revered as Le Sheng.
Beethoven was one of the great composers in the history of world art, and his creation epitomized his giant character, reflecting the progressive ideas of his time, and its image of revolutionary heroism can be summed up in "through suffering - to joy; through struggle - to victory". His works are both magnificent and extremely simple and distinctive, and its music is rich in content and at the same time easy for listeners to understand and accept. Beethoven's music epitomizes the pain and joy, struggle and victory of the people of his time, so it has always inspired people in the past, inspired people's morale, and even now makes people feel kind and inspired.
In the 27 years from 1795 to 1822, Beethoven wrote a total of 32 piano sonatas, which accompanied him almost his entire creative career. These sonatas, along the path opened up by Haydn and Mozart, exert the potential expressiveness of this body to the fullest, accommodating the excited emotions in Beethoven's heart and his thoughts and feelings about society, history and nature. The piano, an instrument, has also exhibited unprecedented power and truly become the "emperor" of the country of musical instruments. Thus, echoing Bach's Twelve Average Piano Pieces, which is called the "Old Testament," Beethoven's Thirty-Two Piano Sonatas is known as the "New Testament," another classic in piano art.
When we want to choose Beethoven's piano sonata, the first thing that must come to mind must be "Sorrow" No. 8, "Moonlight" No. 14, "Tempest" No. 17, "Dawn" No. 21 and "Passion" No. 23, which together are called "Beethoven's Five Most Famous Piano Sonatas".
<h1 class="pgc-h-arrow-right" data-track="2" > first walstein (dawn</h1>).
Opus 53 (1803) Piano Sonata No. 21 C Major Waldstein
The piano sonata, which began composing music in 1803 and was finalized in the summer of 1804, was dedicated to his friend of the Bonn era, Count von Waldstein. It is called the (Waldstein) Sonata. But some people also call it "dawn", probably because after the hazy morning of the introductory second movement, the beginning of the final movement immediately followed by the magnificence and beauty of the sun.
In 1803 Beethoven's friend Sébastien Erard brought a grand piano from Paris. Beethoven used it to play the Wallenstein Sonata, using almost all the keys (this piano is now housed in the Museum of Fine Arts and History in Vienna). The sonata was published in 1805 under the title The Grand Sonata. This period was beethoven's most active period, and he composed many major works in succession, such as "Heroic Symphony", "Croce Violin Sonata", "Enthusiastic Sonata", opera "Federio" and so on. While striving to complete these great works, Beethoven actively broke away from the style of the past and put in magnificent playing techniques that had not been seen in previous works, resulting in the effect of the concert form, giving people a feeling of spaciousness and generosity like looking up at the sky. Beethoven began to show his full face, creating a unique style, confidently moving forward with great strength.
This sonata full of nature's poetic feelings was composed at the same time as the Symphony of Heroes. These two outstanding works profoundly embody Beethoven's understanding of life, society and nature from different angles. The "Heroes" symphony epitomizes Beethoven's heroic view, while the "Dawn" sonata clearly reflects Beethoven's view of nature. His love of nature, the spiritual power and philosophical inspiration he derived from it are all fully reflected in this sonata.
The Dawn Sonata is a majestic piano pastoral symphony. It is full of vibrant vitality, fresh breath and lyrical poetry. The whole song is divided into three movements.
The first movement is in the sonata style. The main theme of the C major of the Presentation Department depicts the morning scene of dawn and everything with a short jumping rhythm, homophonic repetition, bright leaning tones and dexterous rapid scales. Golden sunlight shines through the mist, awakening the sleeping earth, birds are leaping, and the flute is echoing. Then, the crisp swirling sound pattern of the treble zone appears, making people feel like they are at the edge of a valley spring, listening to the babbling of running water. Then the density of the sound pattern, the change of tonality, the change of dynamics, the fields of mottled colors, and the vibrant earth are displayed one by one. The sub-themes that appear in E major, with clear tunes, clear timbres, novel tonalities, chord-like textures, are like an ode to expressing people's love and praise for nature, yearning for light and happiness. The moving hymn first appears in the right hand treble area, and then in the left hand middle area is not fully reproduced, when it appears for the second time, the flexible movement of the right hand, so that this theme dissolves into the active movement, it seems that people are sensed by nature, and the whole mind is also integrated into the rhythm of life movement. At the end of the presentation department, with the development of rhythm and the increase of strength, the momentum gradually strengthens and the emotions become more and more enthusiastic, showing the majestic picture of "all kinds of frost and sky competing for freedom". Then, brilliant vibrato, like flickering sunlight, like sparkling ripples. The soft, rotating scale gradually descends from the treble to the midrange, as if the breeze blows a faint floral fragrance. The vigorous movement has also gradually eased, but this does not mean that the movement has stopped, but that it has transitioned to an unfolding section that has set off a greater wave.
The unfolding section will make various changes in the material of the presentation department from the aspects of melody, rhythm, intensity and color. At the beginning, the condensed main material is upstairs in different tones, and the colorful fast sound patterns are constantly leaping in the high and low sound areas, such as warblers and swallow dances, cicadas and butterflies flying. Subsequently, the active triplet of the sub-part also develops in different tonal changes, as if the waves are sweeping and the waves are rolling. Subsequently, dense ascending patterns rush from the bass area to the high pitch area to form a white wave. In the midst of a dramatic climax of high emotions, the re-enactment section appeared. The use of new materials and the change of tonality have given the reproduction department a new look. The sub-theme appears in A major, with a higher pitch, brighter timbre and more passionate. But in the second sentence, the theme proceeds to the minor key of the same name, making the warm, sincere hymn with a few wisps of melancholy. The epilogue of the reproduction department is several times larger than that of the presentation department, and it seems to be the second expansion department in terms of development techniques and emotions. The up and down scales fluctuate greatly, the continuous alternating of the rapid sound patterns of the left and right hands, and the impact of the sound waves from low to high fully demonstrate the surging power of nature, forming the climax of the whole song. After the sub-theme sings the affectionate hymn again, the pending extension of the genus seven chords appears three times, as if the author had repeatedly raised questions in contemplation, and finally, the vibrant sound pattern rolled forward, and the great power of nature was fully affirmed.
It can be said that Beethoven has completely departed from the original style.
Romain Rolland once wrote: "This work is so famous, but it is not clear enough to understand. Piano technique is overburdened, and the gorgeous network of showmanship obscures it, often preventing people from capturing its inner intimacy. We are accustomed to Beethoven's tragic countenance, his majestic posture, his broad voice, the revealing character of his passionate motives. When Beethoven seemed carefree to play the keys in sequence with his flexible, thick fingers (as if he were walking on the countryside with his short feet), it was impossible to imagine the tension of the fantasy sung under the scales and the light rain of passages and the firmness of the will to be awake in this dream. It is a white sonata in C major, like pure water flowing, and the intoxicating praise of nature is subordinate to reason. ”
<h1 class="pgc-h-arrow-right" data-track="16" > the second song of pathos</h1>
Opus 13 (1799) Piano Sonata No. 8 C minor Pathétique
It is a masterpiece that reached the pinnacle of Beethoven's early piano sonatas and is also a work that is familiar to the world for its dramatic and beautiful melodies. Whether in terms of content, melody and structure, this song is permeated with a kind of rationality peculiar to the German nation, which is also a common trait of German musicians such as Beethoven. The playing technique of this piece is not too difficult, so there are many opportunities to be played, and it is a piece that many piano beginners love. In Beethoven's piano sonatas, Pathos is the first work to be titled by himself. The term "pathos" is still some distance from the touching and poignant and profound tragic life of Beethoven in the second half of his life, because this is after all his early work.
The first movement is a magnificent sonata. Extremely slow plate, brilliant allegro, C minor. At the beginning is a long extremely slow plate full of sad emotions, and then it turns into an allegro, and there is still a hint of determination in the melody of pathos. The introduction of the heavy board is full of ancient Greek tragic atmosphere, the eloquent tone has the spirit of a giant, there is no childlike love like a lingering pity, the anger of fate and the indomitable arrogance in a desperate situation make the listener's blood boil.
The second movement is like a song of slow plates, down in A major, 2/4 beat. Warm and pious, like a lyrical wordless song. The theme of the "Pathos" score of this movement is a very familiar melody, which has been adapted into a light music piece by the modern light music team and has become a masterpiece of popular music. Beethoven's love for life and for mankind is like the sunshine of Apollo, shining clearly on every note.
The third movement is a melodic sonata, allegro, in C minor, 2/2 beat. The theme of the movement has something in common with the motivation of the theme of the first movement, and the beautiful melody has an unstable wandering mood and seems to be in a wandering state of mind. At the beginning, there is a series of raindrops pouring down, and the main theme is full of youthful brightness and irrepressible vitality, while behind the laughter, there is a slight uneasiness and commotion. The sub-theme of the major, although clear, also hints at mental instability with rapid movement. The interlude expresses a truly strong and stable will in a declarative tone of determination. Several passages of this movement have Beethoven's usual "signature" ending, giving people a taste of the composer's confidence and dashing.
<h1 class="pgc-h-arrow-right" data-track="17" > third song Tempest</h1>
Opus 31 (1802) Piano Sonata No. 17 Tempest in D minor
Piano Sonata No. 17, in D minor, OP.31 no. 2. The title of "The Tempest" comes from Schindler's questioning of Beethoven to interpret the song, and Beethoven replied that you can read Shakespeare's The Tempest. The work is full of strange, gray and dark sense of urgency, and the music is divided into three movements. The overall speed layout is allegro, slow, and small allegro. All three movements are written according to sonata principles.
The Tempest, shakespeare's last work in his later years (1611), is known as Shakespeare's will written in poetry, in which he expressed his good will to love life and advocate ideals. At the same time, when Beethoven composed the Tempest Sonata, it was the moment of his auditory decline and mental crisis, and he wrote a few months later in the "Herikenstus Will" that he said that "in the past six years my body has been so bad ... But I can't say to people, 'Louder, I'm deaf'... This sense in me should be especially superior to others... I don't kill myself because art keeps me. I feel unable to leave this world until I have completed all the mission I feel I feel. ”
The first movement is preceded by an introduction, where the slow, solemn, seductive tone contrasts with the anxious, restless, hurried tone, and the dramatic atmosphere arises: the music passes through the mold, the transition, directly into the first theme, allegro: the majesty of the bass, and the corresponding answer is the treble, sad, and the soft, and the triad in the middle provides an unquirkable background. These tones are all hinted at in the introduction. The dramatic atmosphere intensifies, leading to a second theme, with a tone of anxiety and eagerness: on the basis of the tones of these themes above, after careful unfolding, it enters the beginning of the reproduction. At this time, between the solemn tone and the anxious tone in the reproduced introduction, a monophonic line of narration is inserted, which is very creative and achieves an exceptionally charming artistic effect: this is after a fierce dramatic experience, suddenly quiet, all other sets, characters disappear, as if the whole universe is left with only a chanting heart, and how sad and lonely this song is!
The end of the first movement fades away in the extension of the d-minor triad. The extension and weakening of the tone tends to be calm, and the dullness of the little three chords feels that "things are not over yet." At this time, the second movement slow plate begins with a warm bB major third chord. The arpeggios of the chords are played with a sense of happiness: this movement, temporarily forgetting the contradictions and uneasiness in the first movement, Beethoven came to the embrace of nature. Nature, which he always feels intimate, sacred, and loved; the endless source of inspiration for his creations, the consolation that his traumatized heart longs for, can always be obtained from nature.
The third movement seems to be a new state of mind that arises after the "purification" of the soul by the second movement, which is woven from beginning to end by 16 notes of 3/8 beats, and the music is fluid and there are also warm moments, but the overall is elegant and delicate. There are many transpositions, and the minor keys are the mainstay, which inevitably produces a sense of anticipation. After a long, tortuous, gentle flow, the music disappears into a monophonic D, ending the third movement and the whole "storm".
<h1 class="pgc-h-arrow-right" data-track="18" > the fourth song moonlight</h1>
Opus 27 (1801) Piano Sonata No. 14 L C minor Moonlight
Arguably Beethoven's most famous work
There are many theories about the name of this sonata, "Moonlight", the most famous of which is a moving legend: it is said that when Beethoven played the piano to a blind girl, the wind blew out the candles, and the moonlight quietly sprinkled on the poor hut and sprinkled on the piano. At this time, Beethoven improvised the "Moonlight" sonata. It is now more common to say that the name of this sonata is due to the German poet Ludwig. Lershtab compares the first movement of the song to "like a boat swaying on the moonlit lake of Lake Lucerne, Switzerland."
The Moonlight Sonata was written in 1801, when Beethoven had already acknowledged his fear of ear diseases and lingering anxieties.
The emotions of the first movement are extremely rich, with meditative tenderness, sad chanting, and dark premonitions. Although the accompaniment, theme and dynamics did not change much, the fluctuations of the author's heartstrings were delicately expressed through changes in harmony, sound area and rhythm. This sonata contains Beethoven's most original ideas. Its dreamlike improvisational nature, the way it explores the resonance of piano sound, has presupposed Debussy's impressionist music school about a hundred years later. The subject matter on which it is based is simple: at the beginning of the piece, the boundless fantasy is constructed by the continuous flow of triplets, and after four bars, the first theme appears faintly in the midrange area. It is meticulous and calm, with a slight melancholy touch. A second theme appears in B major in 1 minute and 18 seconds. The middle part begins with the first theme. The triplet zigzags toward the treble zone, showing an impatient mood. Subsequently, moving on to the third segment, the first theme is reproduced calmly, the second theme is reproduced in the face of the ascending C minor, and then the final play of the basic motivation continues in the bass, slowly disappearing and ending.
The second movement is relatively short, and Liszt describes it as "a flower between two abysses." It perfectly connects the contemplative contemplation of the first movement with the tension of the third movement with very different brisk expressions. The first paragraph is a theme of the legato echoing the broken, and then repeats it in variations. The middle is also kept in lower D major. The first segment is reproduced in 2 segments at 1 minute and 13 seconds. This movement seems to be a warm smile left in an instant.
Although the third movement is closely related to the previous movement in terms of tone, the feelings expressed are completely different. The first theme is the irrepressible boiling and incitement of enthusiasm, like a fierce rage, and like a series of jumping feet. The second theme is like an appeal from the bottom of your heart. Its consecutive quarters near the end, with a sharp rhythm, expressed passionate emotion and strong will. After a short unfolding, the excitement in my heart was even stronger. At the end, when the boiling enthusiasm reached its peak, it suddenly fell silent, but the surging mood did not calm down. Beethoven once said that the two sonatas of his work No. 27 were like Fantasia. He instructed that there should be no pauses between the movements of piano sonatas Fourteen in C minor, so that the movements could unfold in a suggestive manner from the beginning to the intricate final movement, providing a sense of cohesive climax.
<h1 class="pgc-h-arrow-right" data-track="19" > the fifth song of enthusiasm</h1>
Opus 57 (1805) Piano Sonata No. 23 in F minor Passion (Appassionata)
The Sonata of Passion is one of the greatest achievements of Beethoven's genius, one of the greatest works of world-renowned and often played in concerts, and its subjective emotions and Beethoven's personality are characterized by such intensity. This magnificent and imposing work has a high degree of enthusiasm for distribution, a very warm and tense content, and a deep and enthusiastic cry of Beethoven, reflecting Beethoven's feelings and understanding of the times, and for hundreds of years, this work has been sincerely loved by people around the world.
Composed between 1804 and 1806, the Sonata of Passion is a masterpiece of Beethoven's mid-term sonata, the period of beethoven's maturity. It is also the classic work that occupies the highest peak in the entire history of piano music. It is not only shocking that the inner emotional frenzy and the compactness of the selection of materials are shocking, but it is also the most expressive musical techniques that completely put all the surging and violent elements in a form that is completely clear at a glance. With its vivid and profound musical image, "Passion" summarizes the heroic features of the European people against feudalism and aggression in the early nineteenth century. His profound, monumental music and majestic forms were prominently expressed in this period, and were very rare in Beethoven and other works of his kind. Through a perfect art form, "Passion" fully expresses Beethoven's thoughts and feelings in the mature period, indicating that Beethoven has a complex experience and dissatisfaction with the era and society in which he lives. It is very obvious that Beethoven finally felt the strength of the people and the pace of the times, and pinned his hopes on a new future with great enthusiasm. Both the author himself and the public commentator believe that "enthusiasm" is one of the piano sonatas that have reached the pinnacle.
"Roman. Roland called the sonata "a fiery rapids on a granite track." "Montblanc towers over the Alps." Lands compares it to a "volcanic eruption." UlyoBeshev called it a "volcanic sonata" that was "a work that was both fanatical and sublime." It can be seen that the word "fire" vividly reflects the characteristics of this work.
The first movement has two themes. The first theme shows repressed emotions and a desire for light, as well as a strong rebellion against so-called "destiny". The second theme expresses the yearning for a happy life. The disillusionment of ideals, the passionate roar and the struggle of life's suffering. It's full of intense dramatic conflict.
The second movement contrasts sharply with the enthusiasm of the first movement: in the midst of the arduous and bumpy course of life, the soul is still full of vitality and revels in a wonderful ideal. A simple hymn-like theme is used here, and after three variations, the rhythm gradually comes alive, suggesting that the hero's will is strong again through contemplation and continues to fight tenaciously against suffering.
The third movement was written in the summer of 1804, and Beethoven and his pupil Leith were on a walk, humming a tune in their mouths. He said: "This is the theme of the final allegro movement of a sonata that I have in mind. After entering the house, Beethoven did not even have time to take off his hat, so he ran to the piano to play this new movement for more than an hour. Finally he said to Lis, "I can't teach you a lesson today, I still need to work." The final movement of the "Passion Sonata" with its otherworldly temperament was born. Here is shown the boiling will to struggle, the indomitable momentum, the trumpet-like introduction, the stormy first theme and the second theme of tenacious resistance and struggle. Although it ends with a tragic chord, at the end of the finale, there is a rhythm of the nature of mass dance music, a heroic interlude, showing the indomitable fighting spirit and the giant-like strength of the hero himself.
In terms of form, the "Enthusiastic Sonata" expresses Beethoven's original spirit, and the creative method is natural and flexible. He rationally organizes the "restless soul of Prometheus" and the raging emotions overcome by the strong will in a classical, rigorous, and pure musical form, with a simple, concise, and precise musical vocabulary. To this, Roman. Roland praised it as "a great current of flame in the channel of granite." ”
<h1 class="pgc-h-arrow-right" data-track="23" > with video: Beethoven Sonata N° 21 'Waldstein' (Dawn) played by piano master Daniel Barenboim</h1>
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Source: Online information
!["Special Recommendation" The wind is muffled, and the moonlight is so warm! Detailed explanation of Beethoven's Moonlight Sonata[fig]](data:image/gif;base64,R0lGODlhAQABAIAAAP///wAAACwAAAAAAQABAAACAkQBADs=)