Analysis of Sonata by L.V.Beethoven - Op.2 No. 1 (F minor)

Kyazimova Olga Alexandrovna,

Concertmaster, MBU DO "Chernushinskaya Music School"

Beethoven is the last composer of the 19th century for whom the classical sonata is the most organic form of thinking. The world of his music is impressively diverse. Within the framework of the sonata form, Beethoven was able to expose diverse types of musical thematics to such freedom of development, to show such a vivid conflict of themes at the level of elements, which composers of the 18th century had never even thought of. In the composer's early works, researchers often find elements of imitation of Haydn and Mozart. However, it cannot be denied that in the first piano sonatas of Ludwig van Beethoven there is originality and originality, which then acquired that unique appearance that allowed his works to withstand the most severe test - the test of time. Even for Haydn and Mozart, the genre of the piano sonata did not mean so much and did not turn into either a creative laboratory or a kind of diary of intimate impressions and experiences. The uniqueness of Beethoven's sonatas is partly explained by the fact that, trying to equate this previously chamber genre with a symphony, concert and even musical drama, the composer almost never performed them in open concerts. Piano sonatas remained a deeply personal genre for him, addressed not to abstract humanity, but to an imaginary circle of friends and like-minded people.

Ludwig van BEETHOVEN is a German composer, representative of the Viennese classical school. He created a heroic-dramatic type of symphony (3rd “Heroic”, 1804, 5th, 1808, 9th, 1823, symphonies; opera “Fidelio”, final version 1814; overtures “Coriolanus”, 1807, “Egmont”, 1810; a number of instrumental ensembles, sonatas, concerts). Complete deafness, which befell Beethoven in the middle of his creative journey, did not break his will. Later works are distinguished by their philosophical character. 9 symphonies, 5 piano concertos; 16 string quartets and other ensembles; instrumental sonatas, including 32 for piano (among them the so-called “Pathetique”, 1798, “Lunar”, 1801, “Appassionata”, 1805), 10 for violin and piano; "Solemn Mass" (1823). Beethoven never conceived of his 32 piano sonatas as a single cycle. However, in our perception their internal integrity is undeniable. The first group of sonatas (Nos. 1-11), created between 1793 and 1800, is extremely heterogeneous. The leaders here are the “grand sonatas” (as the composer himself designated them), in size not inferior to symphonies, and in difficulty surpassing almost everything written for the piano at that time. These are the four-part cycles opus 2 (nos. 1-3), opus 7 (no. 4), opus 10 no. 3 (no. 7), opus 22 (no. 11). Beethoven, who won the laurels of the best pianist in Vienna in the 1790s, declared himself as the only worthy heir of the deceased Mozart and the aging Haydn. Hence the boldly polemical and at the same time life-affirming spirit of most of the early sonatas, the courageous virtuosity of which clearly went beyond the capabilities of the then Viennese pianos with their clear, but not strong sound. In Beethoven's early sonatas, the depth and penetration of the slow movements are also amazing.

The variety of artistic ideas characteristic of Beethoven's piano work was most directly reflected in the features of the sonata form.

Any Beethoven sonata is an independent problem for a theorist who analyzes the structure of musical works. All of them differ from each other and in varying degrees of saturation with thematic material, its diversity or unity, a greater or lesser degree of laconicism or spaciousness in the presentation of topics, their completeness or expansion, balance or dynamism. In different sonatas, Beethoven emphasizes different internal sections. The construction of the cycle and its dramatic logic also change. The methods of development are infinitely varied: modified repetitions, motivic development, tonal development, ostinato movement, polyphonization, and rondo-likeness. Sometimes Beethoven deviates from traditional tonal relationships. And always the sonata cycle (as is generally characteristic of Beethoven) turns out to be an integral organism in which all parts and themes are united by deep internal connections, often hidden from superficial hearing.

The enrichment of the sonata form, inherited by Beethoven in its main contours from Haydn and Mozart, affected, first of all, the strengthening of the role of the main theme as a stimulus for movement. Beethoven often concentrated this stimulus in the initial phrase or even in the initial motive of the theme. Constantly improving his method of developing the theme, Beethoven came to a type of presentation in which the transformations of the primary motive form a long-extended continuous line.

The piano sonata was for Beethoven the most direct form of expression of the thoughts and feelings that excited him, his main artistic aspirations. His attraction to this genre was particularly strong. If symphonies appeared as a result and generalization of a long period of searching, then the piano sonata directly reflected the whole variety of creative searches.

Thus, the deeper the contrast of images, the more dramatic the conflict, the more complex the process of development itself. And Beethoven’s development becomes the main driving force behind the transformation of the sonata form. Thus, the sonata form becomes the basis for the vast majority of Beethoven's works. According to Asafiev, “a wonderful prospect opened up for music: along with other manifestations of the spiritual culture of mankind, it [the sonata form] could, through its own means, express the complex and refined content of the ideas and feelings of the 19th century.”

It was in the sphere of piano music that Beethoven first and most decisively established his creative individuality and overcame the traits of dependence on the clavier style of the 18th century. The piano sonata was so ahead of the development of Beethoven's other genres that the usual conventional scheme of periodization of Beethoven's work is essentially inapplicable to it.

Themes characteristic of Beethoven, the manner of their presentation and development, a dramatized interpretation of the sonata scheme, a new cue, new timbre effects, etc. first appeared in piano music. In Beethoven's early sonatas there are dramatic “themes-dialogues”, and recitative declamation, and “themes-exclamations”, and progressive chord themes, and the combination of harmonic functions at the moment of the highest dramatic tension, and consistent motive-rhythmic compression, as a means of strengthening the internal tension, and free, varied rhythm, fundamentally different from the metered dance periodicity of 18th-century music.

In his 32 piano sonatas, the composer, with the greatest penetration into the inner life of a person, recreated the world of his experiences and feelings. Each sonata has its own individual interpretation of the form. The first four sonatas are in four movements, but then Beethoven returns to his typical three-movement form. In his interpretation of the side part of the sonata allegro and its relationship with the main part, Beethoven developed in a new way the principles of the Viennese classical school that had been established before him.

Beethoven creatively mastered much of the French revolutionary music, to which he treated with great interest. “The mass art of burning Paris, the music of popular revolutionary enthusiasm found its development in the powerful mastery of Beethoven, who, like no one else, heard the appealing intonations of his time,” wrote B.V. Asafiev. Despite the variety of Beethoven's early sonatas, innovative heroic-dramatic sonatas are in the foreground. The first in this series was sonata No. 1.

Already in the 1st sonata (1796) for piano (Op. 2 No. 1), he highlighted the principle of contrast between the main and secondary parts as an expression of the unity of opposites. In the first sonata in f minor, Beethoven begins a line of tragic and dramatic works by Beethoven. The features of a “mature” style clearly appear in it, although chronologically it is entirely within the framework of the early period. Its first part and finale are characterized by emotional tension and tragic poignancy. The Adagio, transferred from an earlier work, and the minuet are also characterized by features of a “sensitive” style. In the first and last movements, the novelty of the thematic material attracts attention (melodies built on large chord contours, “exclamations”, sharp accents, abrupt sounds). Thanks to the intonational similarity of the main part's theme to one of Mozart's most famous themes, its dynamic character becomes especially clear (instead of the symmetrical structure of Mozart's theme, Beethoven builds his theme on an upward movement to a melodic climax with a "summary" effect).

The similarity of intonations in contrasting themes (the secondary theme reproduces the same rhythmic scheme as the main one, on the opposite melodic movement), the purposefulness of the development, the sharpness of the contrasts - all this already significantly distinguishes the First Sonata from the Viennese clavier style of Beethoven's predecessors. The unusual construction of the cycle, in which the finale plays the role of a dramatic peak, apparently arose under the influence of Mozart's symphony in g minor. In the First Sonata one can hear tragic notes, persistent struggle, and protest. Beethoven would repeatedly return to these images in his piano sonatas: the Fifth (1796-1798), “Pathetique”, in the finale of “Lunar”, in the Seventeenth (1801-1802), in “Appassionata”. Later they will receive a new life outside of piano music (in the Fifth and Ninth Symphonies, in the Coriolanus and Egmont overtures).

The heroic-tragic line, which consistently runs through all of Beethoven's piano work, in no way exhausts its figurative content. As already indicated above, Beethoven's sonatas generally cannot be reduced even to several dominant types. Let us mention the lyrical line, represented by a large number of works.

The tireless search for a psychologically justified combination of two components of development - struggle and unity - is largely due to the expansion of the range of tonalities of side parts, the increasing role of connecting and final parts, the increase in the scale of developments and the introduction of new lyrical themes into them, the dynamization of reprises, the transfer of the general climax to an expanded coda . All these techniques are always subordinated to Beethoven's ideological and figurative plan of the work.

One of Beethoven’s powerful means of musical development is harmony. The very understanding of the boundaries of tonality and the scope of its action appears in Beethoven more clearly and wider than in his predecessors. However, no matter how distant the modulation patterns may be, the attractive power of the tonic center is never weakened.

However, the world of Beethoven's music is staggeringly diverse. There are other fundamentally important aspects to his art, outside of which his perception will inevitably be one-sided, narrow and therefore distorted. And above all, this depth and complexity of the intellectual principle inherent in it.

The psychology of the new man, freed from feudal shackles, is revealed in Beethoven not only in terms of conflict and tragedy, but also through the sphere of high inspired thought. His hero, possessing indomitable courage and passion, is also endowed with a rich, finely developed intellect. He is not only a fighter, but also a thinker; Along with action, he is characterized by a tendency to concentrated thinking. No secular composer before Beethoven achieved such philosophical depth and breadth of thought. Beethoven's glorification of real life in its multifaceted aspects was intertwined with the idea of ​​the cosmic greatness of the universe. Moments of inspired contemplation coexist in his music with heroic-tragic images, illuminating them in a unique way. Through the prism of sublime and deep intellect, life in all its diversity is refracted in Beethoven’s music - violent passions and detached daydreaming, theatrical dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life...

Finally, compared to the work of his predecessors, Beethoven's music stands out for its individualization of the image, which is associated with the psychological principle in art.

Not as a representative of a class, but as an individual possessing his own rich inner world, a man of a new, post-revolutionary society recognized himself. It was in this spirit that Beethoven interpreted his hero. He is always significant and unique, every page of his life is an independent spiritual value. Even motives that are related to each other in type acquire in Beethoven’s music such a richness of shades in conveying mood that each of them is perceived as unique. Given the unconditional commonality of ideas that permeate all of his work, with the deep imprint of a powerful creative individuality lying on all Beethoven’s works, each of his opuses is an artistic surprise.

Beethoven improvised in various musical forms - rondo, variation, but most often in sonata. It was the sonata form that most closely corresponded to the nature of Beethoven’s thinking: he thought “sonata-wise,” just as J. S. Bach, even in his homophonic compositions, often thought in terms of fugue. That is why, among all the genre diversity of Beethoven's piano work (from concertos, fantasies and variations to miniatures), the sonata genre naturally stood out as the most significant. And that is why the characteristic features of the sonata permeate Beethoven's variations and rondos.

Each Beethoven sonata is a new step forward in mastering the expressive resources of the piano, then still a very young instrument. Unlike Haydn and Mozart, Beethoven never turned to the harpsichord, recognizing only the piano. He knew his capabilities perfectly, being an accomplished pianist.

Beethoven's pianism is the pianism of a new heroic style, highly saturated ideologically and emotionally. He was the antithesis of all secularity and sophistication. He stood out sharply against the background of the virtuoso trend that was fashionable at that time, represented by the names of Hummel, Wölfel, Gelinek, Lipavsky and other Viennese pianists who competed with Beethoven. Beethoven's playing was compared by contemporaries to the speech of an orator, to a “wildly foaming volcano.” It amazed with its unheard-of dynamic pressure and had little regard for external technical perfection.

According to Schindler's recollections, Beethoven's pianism was alien to detailed painting; he was characterized by large strokes. Beethoven's performing style demanded from the instrument a dense, powerful sound, the fullness of a cantilena, and the deepest penetration.

With Beethoven, the piano sounded for the first time as a whole orchestra, with purely orchestral power (this would be developed by Liszt and A. Rubinstein). Textural versatility, juxtaposition of distant registers, the brightest dynamic contrasts, vast numbers of polyphonic chords, rich pedaling - all these are characteristic techniques of Beethoven's piano style. It is not surprising that his piano sonatas sometimes resemble piano symphonies; they clearly fit within the framework of modern chamber music. Beethoven's creative method is, in principle, the same in both symphonic and piano works. (By the way, the symphonism of Beethoven’s piano style, i.e. its approximation to the style of a symphony, makes itself felt from the very first “steps” of the composer in the genre of piano sonata – in op.2).

The first piano sonata in f minor (1796) begins a line of tragic and dramatic works. The features of a “mature” style clearly appear in it, although chronologically it is within the early period. Its first part and finale are characterized by emotional tension and tragic poignancy. The Adagio opens a series of beautiful slow movements in Beethoven's music. Here the ending plays the role of a dramatic peak. The similarity of intonations in contrasting themes (the secondary theme reproduces the same rhythmic scheme as the main one, on the opposite melodic movement), the purposefulness of the development, the sharpness of the contrasts - all this already significantly distinguishes the First Sonata from the Viennese clavier style of Beethoven's predecessors. The unusual construction of the cycle, in which the finale plays the role of a dramatic peak, apparently arose under the influence of Mozart's symphony in g minor. In the First Sonata one can hear tragic notes, persistent struggle, and protest. Beethoven would repeatedly return to these images in his piano sonatas: the Fifth (1796-1798), “Pathetique”, in the finale of “Lunar”, in the Seventeenth (1801-1802), in “Appassionata”. Later they will receive a new life outside of piano music (in the Fifth and Ninth Symphonies, in the Coriolanus and Egmont overtures).

A clear awareness of each creative task and the desire to solve it in his own way were characteristic of Beethoven from the very beginning. He writes piano sonatas in his own way, and none of the thirty-two repeats the other. His imagination could not always fit into the strict form of a sonata cycle with a certain ratio of the required three parts.

At the initial stage, it will be very appropriate and important to conduct a musicological and music theoretical analysis. It is necessary to familiarize the student with the stylistic features of Beethoven's music, work on dramaturgy, the figurative sphere of the work, consider artistic and expressive means, and study parts of the form.

L.V. Beethoven was the greatest representative of the Vienna School, he was an outstanding virtuoso, his creations can be compared to the art of fresco. The composer attached great importance to the holistic movements of the hand, the use of its strength and weight. For example, an arpeggiated chord on ff should not be shouted, but taken volumetrically, with the weight of the hand. It should also be noted that the essence of Beethoven’s personality and his music is the spirit of struggle, the affirmation of the invincibility of the human will, his fearlessness and perseverance. Struggle is an internal, psychological process; through this, the composer contributes to the development of the psychological direction in the art of the 19th century. You can play the main part and ask the student to characterize it (anxious, passionate, restless, very rhythmically active). When working on it, it is very important to find the temperament and the necessary articulation - the length of the quarter notes non legato in the parts of both hands. It is necessary for the student to look for where this music is disturbing, passionate, mysterious, the main thing is that he does not play straightforwardly. During this work, it is important to remind the student that one of the most important means of dynamizing Beethoven’s music is meter rhythm, rhythmic pulsation.

It is very important to familiarize yourself with the form, pay attention to the main themes of the sonata, and identify the individual characteristics of each of them. If the contrast is smoothed out, then the sonata form is not perceived. The general nature of sonority is associated with quartet-orchestral writing. It is necessary to pay attention to the metro-rhythmic organization of the sonata, which gives clarity to the music. It is important to feel the strong beats, especially in syncopations and in off-beat formations, to feel the gravity of motives towards the strong beat of the bar, and to monitor the tempo unity of the performance.

Beethoven's works are characterized by heroic-dramatic images, great internal dynamics, sharp contrasts, inhibition and accumulation of energy, its breakthrough at the climax, an abundance of syncopation, accents, orchestral sound, aggravation of internal conflict, striving and calming between intonations, more daring use of the pedal.

From all this it is clear that studying a large form is a long and labor-intensive process, the understanding of which a student cannot master in one lesson. It is also assumed that the student has a good musical and technical base. They also say that you need to find your own zest, play like no one else has ever done.

The finale of the 1st sonata is written in the form of a sonata allegro with an episode instead of development and development elements. Thus, the form of the work plays a major role in the figurative dramaturgy of the work. Beethoven, while preserving the classical harmony of the sonata form, enriched it with bright artistic techniques - vivid conflict of themes, intense struggle, work on the contrast of elements already within the theme.

Beethoven's piano sonata is equivalent to a symphony. His achievements in the field of piano style are colossal.

“By expanding the sound range to its limits, Beethoven revealed previously unknown expressive properties of the extreme registers: the poetry of high, airy, transparent tones and the rebellious rumble of the bass. With Beethoven, any type of figuration, any passage or short scale acquires semantic significance,” Asafiev wrote.

The style of Beethoven's pianism largely determined the future development of piano music in the 19th and subsequent centuries.

No. 2, was written by Beethoven in 1796 and dedicated to Joseph Haydn.
The total playing time is about 22 minutes.

The second movement of the sonata Largo appassionato is mentioned in the story by A.I. Kuprin "Garnet Bracelet".

The sonata has four movements:

1. Allegro vivace
2. Largo appassionato
3. Scherzo. Allegretto
4. Rondo. Grazioso

(Wilhelm Kempff)

(Claudio Arrau)

In this sonata, a new, not too long-lasting stage in the development of Beethoven’s creative nature makes itself felt. Moving to Vienna, social success, growing fame as a virtuoso pianist, numerous but superficial, fleeting love interests.

Mental contradictions are obvious. Should we submit to the demands of the public, the world, should we find the way to satisfy them as faithfully as possible, or should we go our own, hard, difficult, but heroic path? There comes, of course, a third moment - the lively, mobile emotionality of youth, the ability to easily, responsively surrender to everything that attracts with its brilliance and radiance.

Researchers have more than once tended to note the “concessions,” the external virtuosity of this and subsequent Beethoven piano sonatas.

Indeed, there are concessions, they are felt from the first bars, the light humor of which matches Joseph Haydn. There are a lot of virtuoso figures in the sonata, some of them (for example, leaps, small scale technique, quick plucking of broken octaves) look both into the past and into the future (reminiscent of Scarlatti, Clementi, but also Hummel, Weber)

However, listening closely, we notice that the content of Beethoven’s individuality has been preserved, moreover, it is developing, moving forward.

I. Allegro vivace

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is in F major, which contains a third relationship with the key of the work, A major. A difficult, but beautiful canonic section is also to be found in the development. The reprise contains no codas and the piece ends quietly and modestly.

II. Largo appassionato

One of the few instances in which Beethoven uses the tempo marking "Largo", which was the slowest such marking for a movement. The opening imitates the style of a string quartet and features a staccato pizzicato-like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven's conception of this movement. The key is the subdominant of A major, D major.

III. Scherzo: Allegretto

A short and graceful movement that is in many respects similar to a minuet. This is the first instance in his 32 numbered sonatas in which the term "Scherzo" is used. A minor trio section adds contrast to the cheerful opening material of this movement.

IV. Rondo: Grazioso

A beautiful and lyrical rondo. The arpeggio that opens the repeated material becomes more elaborate at each entrance. Rondo structure: A1-B1-A2-C-A3-B2-A4-Coda. The C section is rather agitated and stormy in comparison to the rest of the work, and is representative of the so called "Sturm und Drang" style. A simple but elegant V7-I closes the entire work in the lower register, played piano.

Beethoven dedicated the three sonatas of Op. 2 to Franz Joseph Haydn, with whom he studied composition during his first two years in Vienna. All three borrow material from Beethoven's Piano Quartets, WoO 36, Nos. 1 and 3, possibly of 1785. The sonatas were premièred in the fall of 1795 at the home of Prince Carl Lichnowksy, with Haydn in attendance, and were published in March 1796 by Artaria in Vienna.

The sonatas of Op. 2 are very broadly conceived, each with four movements instead of three, creating a format like that of a symphony through the addition of a minuet or scherzo. The second movements are slow and ponderous, typical of this period in Beethoven's career. Scherzos appear as third movements in Nos. 2 & 3, although they are not any faster than earlier minuets by Haydn. They are, however, longer than theirs precursors.

Beethoven's experimentation with tonal material within Classical-era frameworks begins with his earliest published works, as the first movement of the Op. 2, No. 2 sonata clearly demonstrates. After establishing the key of A major through a fragmentary, disjointed theme, Beethoven begins the transition to the dominant. When the second theme arrives, however, it is on the dominant minor (E minor), implying the keys of G major and C major. This implication is realized at the beginning of the development section, which is on C major. In the recapitulation, one would expect the transition to lead to the tonic, but here it suggests, again, C major through its dominant. At the moment the second theme arrives, Beethoven creates a deceptive cadence by moving to A minor, thus resolving the second theme to the tonic.

Sustained chords over a pizzicato-like bass part at the opening of the second movement could have been realized only on the most recent pianos of the time. In this movement, Beethoven borrowed material from the Piano Quartet, WoO 36, No. 3.

Beethoven retains the formal principles of the minuet for his third movement, an Allegretto Scherzo. There are, however, distinctly Beethovenian features, such as the second theme of the Scherzo being only a slight modification of the first theme, as well as the extension of the second section. In a reference to the key relationships of the first movement, Beethoven sets the Trio in A minor.

In the Rondo finale Beethoven applies some sonata-form procedures to the traditional rondo format and flexes his varying muscles. The overall structure is ABACAB"AC"A. Episode B touches on the dominant to such a degree that its return is rewritten to stress the tonic, while episode C is set in A minor, a key which is abandoned in favor of A major on its return.

Any educational work to order

She almost did not doubt for a single second that Jenny would play the very passage from the second sonata that this dead man with the funny name Zheltkov asked for. And so it was. She recognized from the very first chords this exceptional, unique work of depth. And her soul seemed to split into two. She simultaneously thought that a great love had passed her by, and that it was repeated only once...

Analysis of Beethoven's Sonata op. 2 No. 2 A major (A major) (essay, coursework, diploma, test)

• Beethoven Sonata op. 2 No. 2 (A Dur) Introduction
• 1. chapter. Biography of L. van Beethoven
• 2. chapter. Beethoven's work
• 3. chapter. Sonata op. 2 No. 2 (A Dur)
• Conclusion
• Appendix 1. Fragments from A. Kuprin’s story “The Garnet Bracelet”
• Appendix 2. Main dates of Beethoven’s life and work

If you can, forgive me for this. Today I am leaving and will never return, and nothing will remind you of me.

I am eternally grateful to you just for the fact that you exist. I checked myself - this is not a disease, not a manic idea - this is love with which God wanted to reward me for something.

Let me be ridiculous in your eyes and in the eyes of your brother, Nikolai Nikolaevich. As I leave, I say in delight: “Hallowed be thy name.”

Eight years ago I saw you in a box at the circus, and then in the first second I said to myself: I love her because there is nothing like her in the world, there is nothing better, there is no beast, no plant, no star, no person is more beautiful and gentle than you. It’s as if all the beauty of the earth was embodied in you...

Think about what I needed to do? Run away to another city? All the same, the heart was always near you, at your feet, every moment of the day was filled with you, thoughts about you, dreams about you... sweet delirium. I am very ashamed and mentally blush for my stupid bracelet - well, what? - error. I can imagine the impression he made on your guests.

I'll be leaving in ten minutes; I'll only have time to put a stamp on it and put the letter in the mailbox, so as not to entrust this to anyone else. You will burn this letter. I have now lit the stove and am burning everything that is most precious to me in my life: your handkerchief, which, I confess, I stole. You forgot it on a chair at the ball at the Noble Assembly. Your note - oh, how I kissed her - with it you forbade me to write to you. The program of an art exhibition that you once held in your hand and then forgot on your chair when leaving... It’s over. I cut everything off, but I still think and am even sure that you will remember me. If you remember me, then... I know that you are very musical, I have seen you most often at Beethoven quartets - so, if you remember me, then play or order to play the Sonata in D major No. 2, op. 2.

I don't know how to finish the letter. From the depths of my soul, I thank you for being my only joy in life, my only consolation, my only thought. May God grant you happiness, and may nothing temporary or everyday disturb your beautiful soul. I kiss your hands.

Fragment of the story, after Zheltkov’s death:

“Vera gathered her strength and opened the door. The room smelled of incense and three wax candles were burning. Across the room, Zheltkov lay on the table. His head rested very low, as if a small soft pillow had been slipped on purpose for him, a corpse that didn’t care. There was deep importance in his closed eyes, and his lips smiled blissfully and serenely, as if, before parting with life, he had learned some deep and sweet secret that resolved his entire human life. She remembered that she had seen the same peaceful expression on the masks of the great sufferers - Pushkin and Napoleon.

- If you order, lady, I will leave? - asked the old woman, and there was something extremely intimate in her tone.

“Yes, I’ll call you later,” Vera said and immediately took out a large red rose from the small side pocket of her blouse, raised the corpse’s head a little up with her left hand, and with her right hand put a flower under his neck. At that second, she realized that the love that every woman dreams of had passed her by. She remembered the words of General Anosov about eternal exclusive love - almost prophetic words. And, parting the hair on the dead man’s forehead in both directions, she tightly squeezed his temples with her hands and kissed his cold, wet forehead with a long, friendly kiss.

When she left, the landlady addressed her in a flattering Polish tone:

- Lady, I see that you are not like everyone else, not just out of curiosity. The late Mr. Zheltkov, before his death, told me: “If it happens that I die and some lady comes to look at me, then tell her that Beethoven has the best work...” - he even deliberately wrote it down for me. Look...

“Show me,” Vera Nikolaevna said and suddenly began to cry. “Excuse me, this impression of death is so heavy that I cannot resist.”

And she read the words written in familiar handwriting:

L. van Beethoven. Son. No. 2, op. 2. Largo Appassionato."

Fragment of the end of the story:

“Vera Nikolaevna returned home late in the evening and was glad that she did not find either her husband or brother at home.

But the pianist Jenny Reiter was waiting for her, and, excited by what she saw and heard, Vera rushed to her and, kissing her beautiful big hands, shouted:

“Jenny, my dear, I ask you, play something for me,” and immediately she left the room into the flower garden and sat down on the bench.

She almost did not doubt for a single second that Jenny would play the very passage from the second sonata that this dead man with the funny name Zheltkov asked for.

And so it was. She recognized from the very first chords this exceptional, unique work of depth. And her soul seemed to split into two. She simultaneously thought that a great love had passed her by, something that happens only once every thousand years. I remembered the words of General Anosov and asked myself why this man forced her to listen to this particular Beethoven work and even against her wishes? And words formed in her mind. In her thoughts they so coincided with the music that it was as if they were verses that ended with the words: “Hallowed be thy name.”

“Now I will show you in gentle sounds a life that has humbly and joyfully doomed itself to torment, suffering and death. I knew neither complaint, nor reproach, nor the pain of pride. I have one prayer before you: “Hallowed be your name.”

Yes, I foresee suffering, blood and death. And I think that it is difficult for the body to part with the soul, but, Beautiful One, praise to you, passionate praise and quiet love. "Hallowed be thy name."

I remember your every step, smile, look, the sound of your gait. My last memories are enveloped in sweet sadness, quiet, beautiful sadness. But I won't cause you any grief. I leave alone, silently, as God and fate willed. "Hallowed be thy name."

In my sad dying hour, I pray only to you. Life could be wonderful for me too. Don't complain, poor heart, don't complain. In my soul I call upon death, but in my heart I am full of praise to you: “Hallowed be thy name.”

You, you and the people who surrounded you, you all don’t know how beautiful you were. The clock is striking. Time. And, dying, in the sorrowful hour of parting with life, I still sing - glory to you.

Here she comes, death pacifying everything, and I say - glory to you!..”

Princess Vera hugged the acacia trunk, pressed herself against it and cried. The tree shook softly. A light wind blew in and, as if sympathizing with her, rustled the leaves. The stars of tobacco smelled sharper... And at this time the amazing music, as if obeying her grief, continued:

“Calm down, darling, calm down, calm down. Do you remember about me? Do you remember? You are my one and only love. Calm down, I'm with you. Think of me, and I will be with you, because you and I loved each other only for one moment, but forever. Do you remember about me? Do you remember? Do you remember? Now I feel your tears. Calm down. I sleep so sweetly, sweetly, sweetly.”

Zhenya Reiter left the room, having already finished playing, and saw Princess Vera sitting on the bench, all in tears.

- What happened to you? - asked the pianist.

Vera, with her eyes shining with tears, restlessly, excitedly began to kiss her face, lips, eyes and said:

“No, no,” he has forgiven me now. Everything is fine".

Appendix 2. Main dates of Beethoven's life and work.

1782 - beginning of classes with Nefe. Three keyboard sonatas.

1787, spring - trip to Vienna, meeting with Mozart. Return to Bonn.

1790 - funeral cantata for the death of Joseph P.

1792−1795 - studies with Haydn, Schenk, Albrechtsberger, Salieri.

1799 - Pathetic Sonata.

1801 - “Moonlight Sonata”.

1802 - Second Symphony. Heiligenstadt Testament.

1804 - Heroic Symphony.

1804−1806 - “Appassionata”.

1806 - Fourth Symphony.

1806−1807 - Fifth and Sixth symphonies.

1809, February - agreement with Archduke Rudolf and princes Lobkowitz and Kinsky on the establishment of an annual allowance.

1812, spring - Seventh Symphony.

1812, summer - meeting with Goethe in Teplitz. Letter to the "immortal beloved".

1812, autumn - Eighth Symphony.

1814, May - performance of “Fidelio” in the third edition. November 29 - Academy in honor of the Congress of Vienna.

1818 - Twenty-ninth piano sonata.

1819−1822 - Solemn mass. The last three sonatas for piano.

1822 - meeting with Rossini.

1823 - Weber and Liszt visit Beethoven.

1824−1825 - Quartets op. 127, op. 130 and op. 132.

1826 - Karl's nephew attempted suicide. Departure to visit brother Johann in Gneixendorf. Return to Vienna, illness. The last two quartets.

Judging by the drafts, Beethoven was distinguished by a special creative method of writing works. Unlike Mozart, whose work appeared at once, in a fit of inspiration, Beethoven’s work was born gradually, many themes were reworked many times, the composer looked for different options for their sound and various methods for their development.

Mozart’s famous phrase is known: “He will force everyone to talk about himself” (quoted from: Konen, V.D. History of foreign music. Issue 3. - M.: Music.

Koenigsberg, A. Ludwig van Beethoven. - Leningrad: Music, 1970.

Over time, Beethoven developed his own style of communication - writing in “conversation notebooks,” which have partially survived and are a unique written record of his conversations with his contemporaries.

This line will be continued by the composer in sonata No. 21, “Aurora”.

According to espressivo.

For more information, see: Appendix 1.

The letter mentions Beethoven's Sonata No. 2, which is a musical symbol of the hero's love.

Quote by: Kuprin, A. Garnet bracelet. - M.: Children's literature, 2007. pp. 21−22.

Quote by: Kuprin, A. Garnet bracelet. - M.: Children's literature, 2007. pp. 26−27.

Quote by: Kuprin, A. Garnet bracelet. - M.: Children's literature, 2007. pp. 29−31.

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Bibliography

1. Alschwang, A. Ludwig van Beethoven. Essays on life and creativity. M.: Muzyka, 1966.
2. Galatskaya, V. Musical music of foreign countries. - M.: Music, 1989.
3. Grigorovich, V.B. IN . A. Mozart and J. Haydn // Great musicians of Western Europe. - M.: Education, 1982.
4. Zasimova, A. How to perform Beethoven. - M.: Classics XXI, 2008.
5. Koenigsberg, A. Ludwig van Beethoven. - Leningrad: Music, 1970.
6. Kirillina, L. V. Beethoven. Life and creativity: in 2 volumes - M.: Publishing house of the Moscow Conservatory, 2009.
7. Klimovitsky, A.I. About Beethoven's creative process. M.: Muzyka, 1979.
8. Konen, V.D. History of foreign music. Vol. 3. - M.: Music. 1972.
9. Korganov, V.D. Beethoven. Biographical sketch. - M.: Algorithm, 1997.
10. Kremlev, Yu. Beethoven's piano sonatas. - M.: Soviet composer, 1970.
11. Kremnev, B. Beethoven / Life of remarkable people. Vol. XII. M.: Muzyka, 1961.
12. Kuprin, A. Garnet bracelet. - M.: Children's, 2007.
13. Levik, B.V., Nikolaeva, N.S., Gruber, R.I. Music of the French Revolution of the 18th century. Beethoven. - M.: Music, 1967.
14. Livanova, G. History of Western European music until 1789. - M.: Music, 1982.
15. Maksimov, E. I. The piano work of Ludwig Beethoven in the context of musical criticism and performing trends of the late 18th - first third of the 19th centuries: dis. ...cand. art history: 17.00.02. - M., 2003. 315 p.

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1794 Ludwig van Beethoven lives in Vienna, is successful in society, the young man’s love interests do not differ in either duration or depth - but they happen very often. But the main thing for a musician is the fame of a virtuoso performer, which is increasingly growing... However, the young musician is far from carefree enjoying success: in order to maintain and increase it, he needs to indulge the tastes of the public - often frivolous, greedy for the external shine of virtuosity - sacrificing his own creative aspirations. Which path will the composer take?

Beethoven's genius allowed him to combine in his creations of this period manifestations of his own creative individuality with showiness, which made such a favorable impression on the Viennese public. In the four-movement Sonata No. 2 in A major, which he created in 1796, there are many virtuoso techniques - such as passages or wide leaps, there is also a touch of humor that makes one recall Haydn’s works, but there are also features that are already At this time, the appearance of the future author of “Appassionata” and the sonata “” is clearly outlined.

Thus, accents typical of Beethoven that fall on the reference points appear already in the main part of the first movement (Allegro vivace) in a series of cadences. However, the “mischievous” appearance of the main part echoes the sonatas. But in the relationship between the main and secondary themes, one can see a contrast that is not Haydn’s at all – the languid and even impetuous secondary part anticipates romantic melodies. Particular passion is given to it by syncopation, chromaticism, the tremolo of sixteenth notes that accompanies the melody, as well as harmony - here a small diminished seventh chord appears. At the time when the sonata was created, all this seemed new. The melodic development of the side part ends at the climax with loud “whoops” announcing the beginning of the final part. It brings back the atmosphere of carefree fun that reigned in the main part.

The heroic principle is primarily associated with Beethoven’s creative image, and it is also present in the A major sonata. In development, one of the elements of the main part is transformed, moving closer to fanfare intonation. Particular tension is given to it by the tremolo sixteenth notes, which accompanied the side part in the exhibition - so the convergence of elements that contrasted in the exhibition gives rise to a fundamentally new image. Another element of the main part, which in the exhibition did not at all give the impression of being active, also acquires a strong-willed sound - but now its activity is intensified by sequential development. Beethoven refracts the traditional classicist technique in a very original way - the dominant organ point before the reprise: here this section of the sonata form is preceded by a lull in the dominant harmony. This caesura of form becomes an expression of a passionate desire to return to the original images. The reprise does not introduce anything fundamentally new into them, but the calm at the end of the movement creates the impression of incompleteness, which is also very typical of Beethoven’s sonata cycles, which thanks to this become especially integral.

The characteristic features of Beethoven's style are even more clearly presented in the second movement - Largo appassionato. Themes, almost “violin-like” in their cantilence, are most often presented in the middle register - the richest, most conducive to “singing” on a keyboard instrument; only in the last execution does it move into a higher register (here the composer seems to entrust it to the woodwinds with their “light "timbre). The theme acquires special emotionality due to its rich texture. This slow movement is dominated by a contemplative mood.

A striking contrast to the slow second movement is the third, where the traditional minuet is replaced by a scherzo - and this shows the composer’s innovation. The scherzo of the second sonata (Scherzo. Allegretto) still corresponds to the original meaning of this word - “joke”: there really is a fair amount of humor here. But the scherzo also has a cantilena beginning - it is concentrated in the trio.

In the finale (Rondo. Grazioso) the composer uses the rondo form. Grace and virtuosic brilliance, so beloved by contemporary listeners, reign here. However, the precise rhythm, accents and even individual fanfare intonations that penetrate into the finale, and here demonstrate a typically Beethoven “musical language”: the young composer, creating something that the public will surely like, nevertheless remains himself and opens up new paths in development sonata genre. Despite the influence felt here, Beethoven is already establishing himself as a very original composer.

An interesting turn of fate awaited Sonata No. 2 in Russia: in 1910, Alexander Ivanovich Kuprin wrote the story “The Garnet Bracelet,” in which the second part of the sonata plays a very important role, becoming a kind of posthumous message from the hero to his beloved.

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