![]() ![]() Piano Sonata No.9, Op.14 No.The most powerful creative force that classical music has ever known, Beethoven was born in Bonn, Germany in 1770, to a father who was a tenor.Recording by Paavali Jumppanen, piano from the Isabella Stewart Gardner Museum.9: Scores at the International Music Score Library Project Notes by Christian Leotta includes information on the quartet version.Notes on the cycle of the sonatas performed by Artur Pizarro.A lecture by András Schiff on Beethoven's piano sonata Op.Journal of the American Musicological Society. Beethoven's Piano Sonatas: A Short Companion, Volume 1. Ludwig Van Beethoven's Pianoforte Sonatas (translated by Ingeborg Lund). London, Associated Board of the Royal Schools of Music. 73) A Companion to Beethoven’s Pianoforte Sonatas. 70) A Companion to Beethoven’s Pianoforte Sonatas. 1, 2nd movement, bars 1-8, Quartet version 1 (see below), he states that they are frightfully difficult to play and to interpret.Īccording to Donald Francis Tovey, the instrumentation of this sonata for string quartet is “one of the most interesting documents in the history of Beethoven’s art… There is hardly a bar of the quartet-version that does not shed some light on the nature of the pianoforte, of quartet-writing and of the general structure of music… he takes one of his smallest sonatas and shows that hardly a bar of pianoforte music can be turned into good quartet-writing without quantities of new material besides drastic transformation of the old.” Tovey singles out the opening of the Allegretto second movement as an example not only of what Beethoven adds, but also of what he leaves out in re-imagining the piano sound for strings: Beethoven, Sonata, Op. However, in contrast, pianist András Schiff disagrees with the notion that "the Opus 14 sonatas are lighter or easier" and in his lecture on Opus 14 No. The pianist and musicologist Charles Rosen considers both of the Opus 14 sonatas to be "considerably more modest than their predecessors", "destined for use in the home" and with "few technical difficulties". These were new techniques that offer a hint of the innovations that Beethoven brought to end the Classical era and begin the Romantic era. Furthermore, the contrasting dynamics and variation between major and minor, between using the parallel minor and the subdominant of its relative major (E minor to C major). He adds drama both in the contrast between the lyrical passages that follow very active, textured thematic sections. Not withstanding its seeming simplicity, this sonata introduces the " Sturm und Drang" character that became so commonly identified with Beethoven. On its final return, the main theme is syncopated against triplets. The third movement is in a lively sonata rondo form. Anton Schindler recalled that Beethoven would play the E-minor section furiously, before pausing at length on the E-major chord and giving a calmer account of the Maggiore. The first time, this leads without intermediate modulation to the trio, headed Maggiore, in C after its return, the coda briefly quotes the C major tune before returning to E minor. ![]() The second movement is minuet-like the main section ends on the tonic major chord. The development is full of sixteenth-note arpeggios in the left hand, and sixteenth-note left-hand scales accompany the start of the recapitulation, but the movement ends quietly. The second theme, in B major, is based on a descending run followed by an ascending chromatic run. The first movement opens with a series of ascending fourths in the right hand, followed by a quartet-like echoing of a phrase in different octaves. ![]() Allegretto in E minor with a trio in C major (which returns in the coda)Īnalysis The first movement. ![]()
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