'Beethoven Sonata No 27 Essay\r'

'This piece is super unusual for van van Beethoven Sonatas. One, although it was written at the catch of his late period, this sonata had only two battlefronts, the initial creationness extremely short. Secondly, this was the jump that Beethoven started writing his step markings in German, as though implying that this Sonata was more personal. Beethoven has excessively re label on this piece that he considered titling it either â€Å"Struggle Between Head and Heart” or â€Å"Conversation with the Beloved”. This sonata was dedicated to Count Moritz von Lichnowsky and so describes the love affair he was having at the time. Beethoven literally gave the Count this sonata with the words, â€Å"This Sonata describes your love life.”\r\nThe beginning(a) safari of the sonata has an extremely short development, and a surprising coda. The indorsement ordure is much longer, much desire a Schubert sonata and has another surprising ending of a miniature epilog ue. In fact, Schubert’s first sonata (unfinished) sec movement, shows a distinct like argumentss to this piece’s import movement. It would almost seem like Schubert’s first sonata was a tribute to Beethoven.\r\nWritten in 1814, on that point is a 5 year gap from his bear sonata. He gives exact instructions for his tempo markings because, as he said, â€Å"I am deaf, and I laughingstock no longer play the piano. Therefore, I must(prenominal) give exact instructions to the performer.” In fact, he became so particular, that he started notating barely where his dynamic changes are, leave almost no room for the performer for ad neverthelessments.\r\nearshot to a lecture recital by Andrea Schiff, he has remarked that Sonata no. 27 is one(a) of the most sibyl pull back of the 32 sonatas. This sonata was written deliberately not to ‘ please’ his audience. He wrote it to promote discussion among music lovers and pianists. This sonata wasnâ⠂¬â„¢t even written to be performed on stage. both movements of this piece end quietly, written subito piano and no retardando could be seen. The piece ends quietly and the audience is unless aware the piece has even ended. This sonata is not meant to elucidate an impression. Andrea Schiff has even gone so far to regularize that, â€Å"Ideally, we wouldn’t even have an applause at the end of this piece, there is nothing to applaud!” Furthermore, the sonata after, no 28 (in A Major), sounds like a law of continuation of the 2nd movement.\r\nI will be doing a structural analysis of the Sonata, however, I will alike be adding both(prenominal) commentary on some aspects I find more interesting. Starting from the get down of the first movement, we have the exposition and the first pedestal. already here in the first eight proscribe we can see the conflict â€Å"between the interrogative sentence and heart”, like this movement is so capably nicknamed. In m . 8-16, we see some use of syncopation, indicating that the movement should be counted in one and not third in the ¾ time signature. In the first 24 beats, ending with the fermata on a rest, we see understandably the backbone of the whole sonata.\r\nIn the next region starting with an open b octave, we see the composer has marked in tempo and pp. Beethoven really mark e trulything for the performer, leaving little to question on how exactly he wants it performed. In m. 55, where we have a in truth awkward left glove disquieted chords, I would like to point out that the base line for these seemingly randomly spaced chords is actually the inversion of the original theme at the beginning of the piece.\r\nThe second movement starts at m. 82 on a single b. At m. 109, we have a sharp reminiscence of polyphonic texture much like what Bach would have written. Starting in m. 113, just when the counterpoint ends, we see that the theme has migrated to the tenor line in the left hand , leaving the decent hand free to ‘improvise’ over. We modulate at m. one hundred thirty and in m. 136 there is an echo of the first theme. merely when we think that it sounds somehow familiar, the recapitulation suddenly appears at m.144. There is a little coda at m. 231 and the first movement ends quietly with no retardando marked. It is expect that the performer moves immediately to the 2nd movement. The enterprisingness theme in the rondo is something that the performer becomes familiar with very quickly, because it is repeated in the holy movement no less than sixteen times.\r\nIn contrast to the competitiveness between the head and heart in the first movement, this movement is nicknamed, â€Å"Conversation with the Beloved”. This theme is so unlike Beethoven that it has almost a Schubert-like fictitious character to it. I would also like to note that the opening theme of the second movement is an inversion of the first theme in the first movement. T he epilogue at m. 286 quietly ends the piece, just slipping away. No one notices that it has ended until the surprising silence occupies the space. There is no retardando written and the dynamic marking is pp.\r\nI would also like to do a Golden baseborn analysis with the first movement, the second movement, and the full(a) work.\r\n bm one: 145m x .618 = 89.61 Movement two: 290m x .618 = 179.22 Whole work: 535m x..618 = 330.63 or 185.63 in the 2nd movement\r\nIn movement one, the center move a few musical rhythms after the development, where the theme is being repeated in the surprising key of a minor. This is right before we crescendo up to a climax at m. 92. In movement two, the midpoint falls onto another a minor chord. This measure is right before we transition to another choral in the key of B Major. The midpoint of the entire piece falls on an unassuming measure in the middle of the first theme of the second movement.\r\nAs for the most important parts of the entire work , I would point out the interesting inversions staccato across the board. First would be the awkward broken chords at m. 55 in the first movement that I have mentioned before. And then again right before the recapitulation when the theme is echoed over the keys. so again at the little coda at m. 231. As for the second movement, the whole theme is the upside-down first theme of the first movement.\r\n'