Amiah Kwanprayoon

BEETHOVEN (1770-1827) Piano Sonata No. 17 in D minor Op. 31 No. 2

Beethoven’s 32 Piano Sonatas were divided into 3 styles by his level of deafness

Early Period Sonatas, Opus 2 – Opus 22 (Piano sonatas no.1 -11): Beethoven could hear everything clearly and his works were inspired by Haydn and Mozart.

Middle Period Sonatas, Opus 26 – Opus 90 (Piano sonatas no.12 -27):  Behrend argues that “Suffering, the agitated mind, the interior struggle of the soul, are openly and strongly expressed, as though imploring sympathy and understanding”.[1] During this period, Beethoven’s problem led to a difficult life from the tragic interiority which stimulated him to create many great works.

Late Period Sonatas, Opus 101 – Opus 111 (Piano sonatas no.28 -32): Complete deafness, he could not hear anything. The last five sonatas were sublime and clearly showed his notable talent. However Beethoven was melancholic and resigned from this impairment

[1] William Behrend, Ludwig van Beethoven’s pianoforte sonatas, trans. Ingeborg Lund (Suffolk: Richard Clay &son, LTD , 1927), 87.

The Piano Sonata No. 17 in D Minor, Op. 31 No. 2

Beethoven wrote the piano sonata No. 17 in D minor Op. 31 No. 2 in 1801-1802 which was in the middle period and it consists of three sonata form movements.

• Largo – Allegro
• Adagio
• Allegretto

Behrend suggests that the nickname “THE TEMPEST” was claimed by Anton Schindler, a secretary of Beethoven because once he asked Beethoven about this work but he replied “Read Shakespeare’s tempest!”[2] The reading of Shakespeare’s dramas was what really inspired Beethoven to write his works. It can be seen that the first movement is very dramatic. It shows the expressive domain in the Largo (slow section) as Jones argues, “the openings of the exposition, development and recapitulation while the Sturm und Drang in the allegro section invokes the fear, terror and confusion”[3]. In fact, Beethoven wished to write “programme music” which he created many of his work from poetical idea. This concept did not work during his period; nevertheless, it bacame quite famous after his death and in the romantic period.

[2] William Behrend, Ludwig van Beethoven’s pianoforte sonatas, trans. Ingeborg Lund (Suffolk: Richard Clay &son, LTD , 1927), 89-90.

[3] Timothy Jones, Beethoven:The ‘Moonlight’ and other Sonatas Op. 27 and Op. 31 (Cambridge: Cambridge University Press, 1999), 103

The first movement – Largo – Allegro

Although a classical sonata form was normally written for the first movement, Beethoven added the Largo parts at the openings of the exposition, the development and the recapitulation. Expressively, Improvisation (Arpeggiated Chords), and long pedal indication with the dynamic pp were the main techniques. Meanwhile, there are dramatic characteristic in the Allegro which Beethoven used chromatic turn motives and the Sturm und Drang (Exciting, Terror, Confusion) with triplet harmonies.

The second movement – Adagio

This slow movement shows the calm and relaxed mood but it is still a sentimental movement. It is in the key of B-flat Major which is the sub-mediant of the D Minor. Sonata form appear in this movement, nevertheless, the development is replaced by a short transition passage. It can be clearly seen that double dotted quaver, demisemiquavers, Demisemiquaver triplets (a sense of Timpani) are the main motives. Moreover, practising this movement with a metronome can be a considerable method for steady rhythm.

The third movement – Allegretto

Returning to D minor key, this third movement presents a sublime sentiment while arpeggiated chords and semiquaver note figures run throughout the entire piece. The idea of this movement, Beethoven created very complicated harmony and reused previous material with a twist. For example, he reversed the motive from the exposition in the development and kept the arpeggio figures. To approach the performance is not only playing fast but also slowly to get a sense of the understanding of the music. Furthermore, pedaling needs to be significantly clear, therefore, analysing the chord progressions will lead to the effectiveness of using the piano pedal.

References

– Behrend, William. Ludwig van Beethoven’s Pianoforte Sonatas. London, 1927.

– Jones, Timothy. Beethoven : The ‘moonlight’ and other sonatas, op. 27 and op. 31. First published. Cambridge University Press, 1999.

Rondo in A minor K. 511

Wolfgang Amadeus Mozart
Born: Salzburg, Austria, 1756; Died: Vienna, Austria 1791

Wolfgang Amadeus Mozart, the significant composer and musician of the classical period, he studied music with his father, Leopold Mozart who was also a successful composer. Wolfgang Amadeus Mozart had hundreds of compositions consist of symphonies, concertos, operas, sonatas, etc.

This Rondo opens with the dominant note of A minor followed by chromatic turn which Mozart carefully used throughout this music. Modulating to F major key in the first episode, he prepared the dominant of A minor to return to the rondo theme with more complication. In all piano music, Mozart always composed with one technique and in this work he fully presented chromatic element.

The American music theorist and musicologist Allen Forte described the Rondo in A minor as “Many musicians who have experienced this elegant and mysterious work seem to have acquired a special appreciation of the music.”

Sonata in C minor Op. 5 No. 6

Johann Christian Bach

Born: Leipzig, Germany, 1738; Died: London, England, 1782

1. Grave
2. Allegro moderato
3. Allegretto

Johann Christian Bach was the youngest son of Johann Sebastian Bach. Moving to Berlin in 1750 after his father died, Bach studied composition and harpsichord with his brother, Carl Philipp Emanuel. In 1762, he migrated to England and spent his life with music works here.

The style of Johann Christian Bach was different from his father and his brother, he presented ideas between baroque and classical period. He had many instrumental works which each instrument was distinguished by one opus number e.g. six op. 5 sonatas for harpsichord or pianoforte. The form of Piano Sonata Op.5 was almost similar to sonata form in classical era. There is two to three movements in different styles but the last sonata in C minor could be the most beautiful and expressive.

The first movement which exactly shows melody and accompaniment starts with C minor chord followed by arpeggios. This magnificent Grave is a prelude; it does seem to introduce the fughetta in the second movement. Allegretto, the graceful last movement is a gavotte in rondo form.