Part 3 of the moonlight sonata mood and character. "Moonlight Sonata"

Immortal Sounds of the Moonlight Sonata

1. Feelings of loneliness, unrequited love, embodied in the music of L. Beethoven's Moonlight Sonata.
2. Understanding the meaning of the metaphor "Ecology of the human soul".

Music material:

1. L. Beethoven. Sonata No. 14 for piano. Part I (hearing); II and III parts (at the request of the teacher);
2. A. Rybnikov, lyrics by A. Voznesensky. "I will never forget you" from the rock opera "Juno and Avos" (singing).

Characteristics of activities:

1. Recognize and talk about the influence of music on a person.
2. Identify Opportunities emotional impact music per person.
3. Evaluate musical works from the standpoint of beauty and truth.
4. Recognize the intonational and figurative foundations of music.
5. Learn by characteristics(intonation, melodies, harmonies) music of individual outstanding composers (L. Beethoven)

“Music in itself is passion and mystery.
Words speak of the human;
music expresses what no one knows, no one can explain,
but what is more or less in everyone ... "

F. Garcia Lorca(Spanish poet, playwright, also known as a musician and graphic artist)

Such eternal sources of suffering as loneliness or unrequited love do not appear pitiful at all in art, on the contrary: they are filled with a kind of grandeur, because it is they who reveal the true dignity of the soul.

Beethoven, rejected by Giulietta Guicciardi, writes the “Moonlight” sonata, even with its dusk illuminating the peaks of the world musical art. What is it about this music that attracts new and new generations to it? What immortal song resounds in the Moonlight Sonata, triumphing over all the estates of the world, over vanity and delusion, over fate itself?

Wealth along with power freely roam,
Entering the ocean of good and evil,
When they leave our hands;
Love, even if it was wrong,
Immortal, abide in immortality,
Everything will surpass what was - or will be.

(P. B. Shelley. Love is immortal)

The Moonlight Sonata is one of the most popular works great composer and is one of the most remarkable works of the world piano music. Lunar owes its well-deserved fame not only to the depth of feelings and the rare beauty of the music, but also to its amazing integrity, thanks to which all three parts of the sonata are perceived as something unified, inseparable. The entire sonata is an increase in a passionate feeling, reaching a real mental storm.

Sonata No. 14 in C-sharp minor (cis-moll op. 27 No. 2, 1801) became famous during Beethoven's lifetime. The name "Lunar" she received with a light hand of the poet Ludwig Relshtab. In the short story "Theodore" (1823), Relshtab described the night on Lake Firwaldstet in Switzerland: "The surface of the lake is illuminated by the shimmering radiance of the moon; the wave muffledly hits the dark shore; gloomy mountains covered with forests separate this sacred place from the world; swans, like spirits, swim by with a rustling splash, and from the side of the ruins the mysterious sounds of an aeolian harp are heard, plaintively singing about passionate and unrequited love.

Readers easily associated this romantic landscape with the long-established Part I of Beethoven's sonata, especially since all these associations looked completely natural to the ears of musicians and the public of the 1820s and 1830s.

Ghostly arpeggios on the foggy enveloping right pedal (an effect possible on pianos of that time) could be perceived as the mystical and melancholic sound of an aeolian harp, an instrument that was extremely common at that time in everyday life and in gardens and parks. The soft swaying of the triplet figures even visually resembled light ripples on the surface of the lake, and the majestic-mournful melody floating over the figurations - like the moon illuminating the landscape, or almost ethereal in its pure beauty swan.

It is difficult to say how Beethoven would have reacted to such interpretations (the Relshtab visited him in 1825, but, judging by the poet's memoirs, they discussed completely different topics). It is possible that the composer would not have found anything unacceptable in the picture drawn by Relshtab: he did not mind when his music was interpreted with the help of poetic or pictorial associations.

Relshtab caught only the outer side of this brilliant creation of Beethoven. In fact, behind the pictures of nature, the personal world of a person is revealed - from concentrated, calm contemplation to extreme despair.

Just at this time, when Beethoven felt the approach of deafness, he felt (or, at least, it seemed to him) that for the first time in his life true love came to him. He began to think of his charming student, the young Countess Juliet Guicciardi, as his future wife. “... She loves me, and I love her. These are the first bright minutes in the last two years,” Beethoven wrote to his doctor, hoping that the happiness of love would help him overcome his terrible illness.
And she? She, brought up in an aristocratic family, looked down on her teacher - albeit of a famous, but humble origin, and besides, deafening.
“Unfortunately, she belongs to a different class,” Beethoven admitted, realizing what an abyss lies between him and his beloved. But Juliet could not understand her brilliant teacher, she was too frivolous and superficial for this. She dealt Beethoven a double blow: she turned away from him and married Robert Gallenberg, a mediocre music composer, but a count ...
Beethoven was a great musician and a great person. A man of titanic will, a mighty spirit, a man of lofty thoughts and deepest feelings. How great must have been his love, and his sufferings, and his desire to overcome these sufferings!
"Moonlight Sonata" was created in this difficult time of his life. Under its real name "Sonata quasi una Fantasia", that is, "Sonata like a fantasy", Beethoven wrote: "Dedicated to Countess Giulietta Guicciardi" ...
“Listen now to this music! Listen to it not only with your ears, but with all your heart! And perhaps now you will hear in the first part such immeasurable sorrow as you have never heard before; in the second part - such a bright and at the same time such a sad smile, which had not been noticed before; and, finally, in the finale - such a stormy boiling of passions, such an incredible desire to break out of the shackles of sadness and suffering, which only a true titan can do. Beethoven, struck by misfortune, but not bent under its weight, was such a titan. D. Kabalevsky.

Sounds of music

The first movement of the Lunar Adagio sostenuto differs sharply from the first movements of Beethoven's other sonatas: there are no contrasts or abrupt transitions in it. The unhurried, calm flow of music speaks of a pure lyrical feeling. The composer noted that this part requires the "most delicate" performance. The listener definitely enters the enchanted world of dreams and memories of a lonely person. Slow, wave-like accompaniment gives rise to singing full of deep expressiveness. The feeling, at first calm, very concentrated, grows to a passionate appeal. Calmness gradually sets in, and again a sad, full of melancholy melody is heard, then fading in deep basses against the background of continuously sounding waves of accompaniment.

The second, very small, part of the "Moonlight" sonata is full of soft contrasts, light intonations, the play of light and shadow. This music has been compared to the dances of the elves from Shakespeare's A Midsummer Night's Dream. The second part serves as a wonderful transition from the dreaminess of the first part to the mighty, proud finale.

The finale of the "Moonlight" sonata, written in a full-blooded, rich sonata form, is the center of gravity of the work. In a swift whirlwind of passionate impulses, themes are rushing through - menacing, plaintive and sad - a whole world of an agitated and shocked human soul. A real drama is being played out. The “Moonlight” sonata, for the first time in the world history of music, gives such a rare image of the artist's spiritual world in integrity.

All three parts of "Lunar" give the impression of unity due to the finest motivic work. In addition, many of the expressive elements contained in the restrained first movement develop and culminate in a stormy dramatic finale. The rapid upward movement of the arpeggios in the final Presto begins with the same sounds as the calm undulating beginning of the first movement (tonic triad in C-sharp minor). The very upward movement through two or three octaves came from the central episode of the first movement.

Love is immortal: even though it is a rare guest in the world, it still exists as long as works like the Moonlight Sonata are heard. Isn't this the high ethical (ethical - moral, noble) value of art, capable of educating human feelings, calling people to goodness and mercy with each other?

Think about how thin and gentle the inner world of a person is, how easy it is to hurt, hurt, sometimes for many years. We are increasingly aware of the need to protect environment, the ecology of nature, but are still blind to the "ecology" of the human soul. But this is the most dynamic and mobile world, which sometimes declares itself when nothing can be corrected.

Listen to all sorts of shades of sadness that music is so rich in, and imagine that living human voices tell you about their sorrows and doubts. Indeed, often we act carelessly not because we are evil by nature, but because we do not know how to understand other people. This understanding can be taught by music: you just need to believe. That it does not sound some abstract ideas, but real, today's problems and sufferings of people.

Questions and tasks:

1. What "immortal song" sounds in L. Beethoven's Moonlight Sonata? Explain your answer.
2. Do you agree with the statement that the problem of the "ecology" of the human soul is one of the most important, actual problems humanity? What should be the role of art in its solution? Think about it.
3. What problems and sufferings of people are reflected in the art of the present? How are they implemented?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Beethoven. Moonlight Sonata:
I. Adagio sostenuto, mp3;
II. allegretto .mp3;
III. Presto agitato, mp3;
Beethoven. Moonlight Sonata, part I (performed by a symphony orchestra), mp3;
3. Accompanying article, docx.

History of creation " moonlight sonata" L. Beethoven

At the very end of the 18th century, Ludwig van Beethoven was in his prime, he was incredibly popular, led an active social life, he could rightfully be called the idol of the youth of that time. But one circumstance began to overshadow the life of the composer - a gradually fading ear. “I drag out a bitter existence,” Beethoven wrote to his friend. “I am deaf. With my craft, nothing can be more terrible ... Oh, if I got rid of this disease, I would embrace the whole world.

In 1800, Beethoven met the Guicciardi aristocrats who had come from Italy to Vienna. The daughter of a respectable family, sixteen-year-old Juliet, had good musical abilities and wished to take piano lessons from the idol of the Viennese aristocracy. Beethoven does not take payment from the young countess, and she in turn gives him a dozen shirts that she sewed herself.

Beethoven was strict teacher. When he didn’t like Juliet’s playing, he was annoyed and threw notes on the floor, defiantly turned away from the girl, and she silently collected notebooks from the floor.
Juliette was pretty, young, outgoing and flirtatious with her 30-year-old teacher. And Beethoven succumbed to her charm. “Now I am more often in society, and therefore my life has become more cheerful,” he wrote to Franz Wegeler in November 1800. - This change was made in me by a sweet, charming girl who loves me, and whom I love. I again have bright moments, and I come to the conclusion that marriage can make a person happy. Beethoven thought about marriage despite the fact that the girl belonged to an aristocratic family. But the composer in love consoled himself with the fact that he would give concerts, achieve independence, and then marriage would become possible.

He spent the summer of 1801 in Hungary at the estate of the Hungarian counts of Brunswick, relatives of Juliet's mother, in Korompa. The summer spent with his beloved was the happiest time for Beethoven.
At the peak of his feelings, the composer set about creating a new sonata. The pavilion in which, according to legend, Beethoven composed magical music, has survived to this day. In the homeland of the work, in Austria, it is known under the name "Garden House Sonata" or "Sonata - Arbor".

The sonata began in a state of great love, delight and hope. Beethoven was sure that Juliet had the most tender feelings for him. Many years later, in 1823, Beethoven, then already deaf and communicating with the help of conversational notebooks, talking with Schindler, wrote: “I was very loved by her and more than ever, was her husband ...”
In the winter of 1801-1802, Beethoven completed the composition of a new work. And in March 1802, Sonata No. 14, which the composer called quasi una Fantasia, that is, "in the spirit of fantasy", was published in Bonn with the dedication "Alla Damigella Contessa Giullietta Guicciardri" ("Dedicated to Countess Juliette Guicciardi").
The composer was finishing his masterpiece in anger, fury and the strongest resentment: from the first months of 1802, the windy coquette showed a clear preference for the eighteen-year-old Count Robert von Gallenberg, who was also fond of music and composed very mediocre musical opuses. However, Juliet Gallenberg seemed brilliant.
The whole storm of human emotions that was in Beethoven's soul at that time, the composer conveys in his sonata. These are grief, doubts, jealousy, doom, passion, hope, longing, tenderness and, of course, love.

Beethoven and Juliet broke up. And also later composer got a letter. It ended with cruel words: “I am leaving a genius who has already won, to a genius who is still fighting for recognition. I want to be his guardian angel." It was a "double blow" - as a man and as a musician. In 1803 Giulietta Guicciardi married Gallenberg and left for Italy.
In turmoil in October 1802, Beethoven left Vienna and went to Heiligenstadt, where he wrote the famous "Heiligenstadt Testament" (October 6, 1802): "Oh you people who think that I am malicious, stubborn, ill-mannered - how unfair to me; you do not know the secret reason for what you think. Since childhood, I have been predisposed in my heart and mind to a tender feeling of kindness, I have always been ready to do great things. But just think that for six years now I have been in an unfortunate state ... I am completely deaf ... "
Fear, the collapse of hopes give rise to thoughts of suicide in the composer. But Beethoven gathered his strength, decided to start a new life and, in almost absolute deafness, created great masterpieces.
In 1821 Juliet returned to Austria and came to live with Beethoven. Crying, she recalled the wonderful time when the composer was her teacher, talked about the poverty and difficulties of her family, asked to forgive her and help with money. Being a kind and noble man, the maestro gave her a significant amount, but asked her to leave and never appear in his house. Beethoven seemed indifferent and indifferent. But who knows what was going on in his heart, torn by numerous disappointments.
“I despised her,” Beethoven recalled much later. “After all, if I wanted to give my life to this love, what would be left for the noble, for the higher?”

In the autumn of 1826, Beethoven fell ill. Exhausting treatment, three complex operations could not put the composer on his feet. Throughout the winter, without getting out of bed, he was completely deaf, tormented by the fact that ... he could not continue to work. On March 26, 1827, the great musical genius Ludwig van Beethoven died.
After his death, a letter “To the immortal beloved” was found in a secret drawer of the wardrobe (this is how Beethoven titled the letter himself): “My angel, my everything, my self ... Why is there deep sadness where necessity reigns? Can our love endure only at the cost of sacrifice by refusing to be full, can't you change the situation in which you are not wholly mine and I am not wholly yours? What a life! Without you! So close! So far! What longing and tears for you - you - you, my life, my everything ... ”Many will then argue about who exactly the message is addressed to. But a small fact points specifically to Juliet Guicciardi: next to the letter was a tiny portrait of Beethoven's beloved, made by an unknown master, and the Heiligenstadt Testament.

Be that as it may, it was Juliet who inspired Beethoven to write an immortal masterpiece.
“The monument to love, which he wanted to create with this sonata, very naturally turned into a mausoleum. For a man like Beethoven, love could not be anything else than hope beyond the grave and sorrow, spiritual mourning here on earth ”(Alexander Serov, composer and music critic).
Sonata "in the spirit of fantasy" was at first simply Sonata No. 14 in C-sharp minor, which consisted of three movements - Adagio, Allegro and Finale. In 1832 German poet Ludwig Relshtab, one of Beethoven's friends, saw in the first part of the work the image of Lake Lucerne on a quiet night, with moonlight reflecting from the surface with overflows. He suggested the name "Lunar". Years will pass, and the first measured part of the work: “Adagio sonata N 14 quasi una fantasia”, will become known to the whole world under the name “Moonlight Sonata”.

Giulietta Guicciardi... the woman whose portrait Ludwig van Beethoven kept along with the Heiligenstadt Testament and the unsent letter addressed to the "Immortal Beloved" (and it is possible that she was this mysterious lover).

In 1800, Juliet was eighteen years old, and Beethoven gave lessons to a young aristocrat - but the communication of these two soon went beyond the relationship between teacher and student: “It became more comfortable for me to live ... This change was made by the charm of one sweet girl,” the composer admits in a letter to friend, associating with Juliet "the first happy moments in the last two years." In the summer of 1801, which Beethoven spends with Juliet on the estate of her Brunswick relatives, he no longer doubts that he is loved, that happiness is possible - even noble birth the chosen one did not seem to him an insurmountable obstacle ...

But the girl’s imagination was captured by Wenzel Robert von Gallenberg, an aristocratic composer, far from the most significant figure in the music of his era, but the young Countess Gvichchardi considered him a genius, which she did not fail to inform her teacher about. This infuriated Beethoven, and soon Juliet informed him in a letter of her decision to leave "from a genius who had already won, to a genius who was still fighting for recognition" ... Juliet's marriage to Gallenberg was not particularly happy, and she met Beethoven again in 1821 - Juliet turned to her former lover with a request for ... financial assistance. “She harassed me in tears, but I despised her,” Beethoven described this meeting, however, he kept a portrait of this woman ... But all this will happen later, and then the composer was hard pressed by this blow of fate. Love for Juliet Guicciardi did not make him happy, but gave the world one of the most beautiful works of Ludwig van Beethoven - the Sonata No. 14 in C-sharp minor.

The sonata is known under the name "Lunar". The composer himself did not give her such a name - it was assigned to the work with light hand German writer and music critic Ludwig Relshtab, who saw in the first part of her " Moonlight over the Firwaldstadt Lake. Paradoxically, this name stuck, although it met with many objections - in particular, Anton Rubinstein argued that the tragedy of the first part and the stormy feelings of the finale did not at all correspond to the melancholy and "gentle light" of the landscape. moonlit night.

Sonata No. 14 was published in 1802 together with. Both works were defined by the author as "Sonata quasi una Fantasia". This implied a departure from the traditional, established structure of the sonata cycle, built on the principle of contrast "quick - slow - fast". The fourteenth sonata develops linearly - from slow to fast.

The first movement, Adagio sostenuto, is written in a form that combines two-part and sonata features. The main theme seems extremely simple when viewed in isolation - but the persistent repetition of the fifth tone gives it exceptional emotional intensity. This feeling is intensified by the triplet figuration, against which the entire first movement passes - like a haunting thought. The bass voice in rhythm almost coincides with the melodic line, thereby strengthening it, giving significance. These elements develop in a change of harmonic color, juxtaposition of registers, representing a whole gamut of feelings: sadness, a bright dream, determination, “mortal despondency” – as Alexander Serov aptly put it.

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The name of the sonata was given by the romantic poet L. Relshtab, in whose imagination the music of the first part created a picture of a moonlit night on the shore of Lake Firvaldshtet. However, this does not correspond to the composer's intention, which reveals his personal drama in this sonata. It is known that the immediate reason for writing the sonata was Beethoven's relationship with Juliet Guicciardi, to whom the sonata is dedicated. Mutual love eventually led to disappointment - Juliet rejected Beethoven's offer and preferred the mediocre composer Gallenberg to him. At the same time, apparently, not only an unsuccessful romance with the Italian countess, but also other, no less painful, blows of fate caused the composer's difficult emotional experiences.

The composition of the sonata reveals the drama of the hero, where the image of hopelessness and lifelessness is replaced by a state of violent activity. While retaining the classical structure of the sonata, Beethoven violates the interpretation and form of movement I. It is written in a three-part form with a developing type in the middle, because the basis of the part is one - a concentrated, frozen image. It is no coincidence that Beethoven's remark - "a sonata in the spirit of fantasy."

The first part opens with a short introduction based on a static triplet movement against the background of sustained octaves in deep basses. It is this triplet movement, which persists throughout the entire first movement, that creates an image of immobility, hopelessness, and gloomy concentration. The melody that appears against the background of triplets is frozen and inexpressive (repetition on one sound), contains the rhythmic basis of the funeral march, and only a deviation to the parallel E major reveals a lyrical element in it. In the middle development section, the theme develops tonally (name the keys) and intonation. The so-called motive of the cross appears at the heart of the melody, which since the time of J.S. Bach was considered a manifestation of the most tragic emotions. The culmination is marked by the introduction of a dominant organ point in the bass, against which broken figurations sound in an upward movement with a reduced seventh chord at the base. The theme covers a very wide range and sounds intense and passionate. Having reached the top, the passages now move in a downward direction, conveying a gradual decrease in tension, and lead to a reprise. At the end of the first part, echoes of the melody sound in deep bass. This is a rebellious spirit bound by suffering, which must overcome the blows of fate.

The second part of the sonata contrasts with the first. In the apt expression of Franz Liszt, this is "a flower between two abysses." Perhaps Beethoven created a portrait of the graceful, frivolous and coquettish Giulietta Guicciardi here. The music of the second part contains the features of an elegant minuet (size ¾, moderate pace, characteristic rhythm), and also resembles a playful scherzo (light chords in a high register, short phrases, staccato). There is no figurative contrast in the trio, the tonality of Des dur is preserved, but the theme becomes ponderous and rough thanks to the buzzing octaves and fifths in the low register and the syncopated rhythm.

Part III is the culmination of the cycle. Feelings such as resentment, anger, indignation, which were hidden in Part I, "break through" to the outside. It is no coincidence that the original tonality of cis moll returned. Part III is written in sonata form, where G.P. consists of four sentences. These are a kind of four waves, based on the rapid upward movement of sixteenths according to the sounds of chords. This movement seems to rest against the powerful sF chords, conveying the image of a dramatic impulse. Motor accompaniment completes the image. P.P. GP is not contrasting, it is just as active and impetuous (tonality of the minor dominant, motor accompaniment, dotted rhythm and jumps at wide intervals in the melody). At the same time, she is melodious, thanks to the soft completion of phrases. Z.P. ostinato in rhythm and very tense in harmonic language.

All the themes of the exposition find their development in the development. It has three sections: the development of G.P., the development of P.P. and the dominant organ point, which performs the function of a precursor to the reprise.

In the reprise, all the themes sound in the main key, but there is no sense of conflict resolution. The main culmination is the code, which in terms of scale can be equated to the second development. Only in the final episode, based on P.P.'s theme, does the tension subside. The composer emphasizes the willpower and vital activity of a person, his desire to overcome all obstacles on the path of life.

L. BEETHOVEN Sonata No. 23 in F minor "Appasionata"

Sonata No. 23 in F minor (op. 57) was written in 1806 and dedicated to Franz Brunswick. It is generally accepted that Appassionata belongs to Beethoven's greatest conquests in the field of heroic art. This is the culmination in the development of the heroic-dramatic sonata, a work of tremendous power of influence. The composer himself considered the Appassionata to be his best sonata. The title is not given by the author. It appeared later in one of the posthumous editions (owned by the Hamburg publisher Kranz). The Latin "passio" means passion, as well as suffering, ordeal. The name very accurately reflects the essence of Beethoven's work, in whose music passions of truly Shakespearean proportions rage. It is known that Beethoven associated the content of the Appassionata (as well as Sonata No. 17) with Shakespeare's "The Tempest", glorifying the courage of man, his mind and will in opposition to the elemental forces of nature. Beethoven argues: the meaning of human life is in overcoming fear and despair, in heroic resistance, in relentless struggle.

The Appassionata is the most symphonic of all Beethoven's sonatas. Her 3x-partial cycle is marked by a striking unity: it represents an inseparable whole, in which the role of the dramatic center is played by the finale. With exceptional clarity, Appassionata demonstrates the most typical patterns of Beethoven's development: development through the struggle of contradictions, the unity of opposites .

The sonata allegro of the 1st movement is classic pattern implementation of the principle of derivative contrast. All the diverse themes, including sharply contrasting ones, are here one way or another connected with main theme. This is one of Beethoven's most "unexpected" themes. Already its initial 4-bar demonstrates a new quality of contrast between two opposite elements. One of them is given in unison movement along the tones of a minor triad, covering a wide range (an interesting detail: the unison is “spread” by 2 octaves. In piano literature before Beethoven, such a technique is almost never found). The character is harsh, tragic, secretly domineering. Another element, based on the second motif of complaint, opposes the previous one with a 4-voice harmonic presentation in a narrow range. After a modified repetition of the initial contrast core, another, third element unexpectedly invades the development. This is a semitone intonation VI - I st. (v. 10), persistently menacingly sounding in the bass. The new motif enters into a dialogue with the second element of the original contrast. Increased breathing (4t. - 2t. - I t., i.e., melodic phrases are shortened), the dominance of harmonic instability, increased disturbing, hidden tension - they are preparing a culminating "explosion" of exceptional strength. Swift wave of arpeggio on the sounds of the mind. 5/3 covers almost the entire piano keyboard (bars 14-15). This is the fourth element of G.P. The brightness of the climax emphasizes the first in the development of the main theme f. In terms of tonal terms, the main theme is extremely unstable: the tonic never appears after the initial two-bar. But the "Neapolitan harmony" plays an exceptionally important role. It colors many of the themes of the Appassionata, being a conspicuous factor in the unity of the whole.

The second sentence of ch.t. dynamized: the opening motive is now accompanied by powerful chords, powerful waves rushing up from R to thunderous ff. This continuation of the main theme acts as a link, which is the norm in Beethoven's sonata form. The “motive of complaint” (2nd element) comes to the fore, which sounds against the background of the knocking ostinato rhythm of the “motive of fate” (3rd element) on the sound “es”, the dominant of As-dur is a side key (therefore it is perceived as a precursor to it). So, the connecting part represents a new, higher stage in the development of the main theme, its elements.

Side party, with its "hymnal" strong-willed fanfare, is associated with French revolutionary songs such as "La Marseillaise". Unlike the main part, the tonal stability is clearly felt in it. With its enthusiasm, the side story is the most distant from the previous thematic material. However, intonationally and rhythmically it is related to the first element of the main part. The triumph of light does not last long: already in the 8th measure of the side theme, the minor S turns the development into the same name as-moll, in which the final theme takes place. Her spontaneous impulse marks the climax of the exposition. The character is gloomy-tense, furious, but also titanic-strong. It is perceived as an image of courageous resistance. Thematism Z.P. also derived from G.P. (4 and 3 el-you, and the "motive of fate" is invaded by a formidable fanfare). So, all the themes of the exposition have grown from the main one according to the principle of derivative contrast: from the 1st element - a secondary one, from the 2nd - a connecting one, from the 4th - the final one, in which the 3rd element appears - "the motive of fate". In the future, this motif (3rd element) marks the moments highest voltage, for example, at the climax of development. In addition, it repeatedly turns into a continuous rehearsal movement in eighth durations, forming an unchanging rhythmic background for the entire movement (similar to a "pre-excitation" before a side theme).

The main theme is a kind of prototype of all further development. The unfolding of musical "events" both in Part I and in the entire cycle follows the "channel" laid by it - according to the principle of the brightest highlighting of the final climax: for the main theme, this is the 4th element; for the entire exposition - the final game; for sonata allegro I part - coda; for the whole cycle - the final. In the first part of the Appassionata, Beethoven for the first time refused to repeat the exposition. (“the movement of passion is too strong to be able to go back”- R. Rollan). Development begins with the main part in E-dur (the transition is very fast, by enharmonic replacement of as-moll 5/3 with gis-moll) and repeats thematic plan exposition: the main one is followed by a connecting one, then a secondary and final one. All themes are accompanied by a very active tonal-harmonic, register, intonation development. Music gives rise to a feeling of acute struggle, painful efforts, extreme tension. mental strength. The thematic nature of the final part is transformed into a non-stop flow of arpeggios to the mind. VII f-moll, which is “cut through” by a knocking motif from the main theme (3rd el-t). He "rumbles" on ff now in upper and then lower case, marking the climax of the development, leading to predicate. The peculiarity of this predicate is that against the background of ostinato pulsation on the sound “s” the entire recapitulation of ch. themes, thereby blurring the line between sections of sonata form. The ostinato bass further holds the individual elements of the theme together.

The highest culmination and new developmental development of themes are given in code. Koda carries out a qualitative transformation of the material and synthesis, as a result of which it is practically impossible to separate the thematicism of Ch. and win the way they merge.

II part sonata contains depth and philosophical concentration. This Andante in Des-dur in the form of variations. Its majestic, calmly solemn theme combines the features of a chorale and a hymn. Four variations are united by the mood of sublime enlightenment.

The more tragic The final(f-moll) invading attacca with sharp protests. Mind VII4/3 is repeated 13 times on which Andante froze, as a signal for a storm, while the dynamics abruptly switch from pp To ff. It is not enough to hear only the raging of the elemental forces of nature in the final storm - these are storms and a whirlwind of spiritual passions. In contrast to the victorious finale of Beethoven's heroic-dramatic symphonies, in the last movement of the Appassionata the darkness thickens, the drama becomes ultimate. The sonata form of the finale (more precisely, the sonata form with an episode, i.e. a new theme in development) is very peculiar: it does not contain extended finished melodies. Against the background of an unceasing stream of rising and falling waves of passages, short motifs arise, sometimes heroic, proud, invocative (in the ch.p.), now painfully mournful (a second motif in the side note, especially a new theme in b-moll from the development); there are also no relief stops, caesuras. The impetuous undulating whirlwind stops only once (a lull before the reprise); with all individuality various topics finale, there are no distinct figurative contrasts in it. The finale is all - impulse, movement, struggle

The semantic result of the whole sonata is code. The idea found expression in it, which will sound with renewed vigor in the 5th symphony: only in unity with other people, with the masses, a person is able to win, gain strength. The theme of the coda is new, it was neither in the exposition nor in the development of the finale. This is a powerful heroic dance in a simple rhythm, creating the image of the people.

The main features of Beethoven's symphonic method:

· Showing the image in the unity of opposite, fighting with each other elements. Beethoven's themes are often built on contrasting motifs that form internal unity. Hence their internal conflict, which serves as a prerequisite for intense further development.

· The huge role of derivative contrast. Derivative contrast is such a principle of development, in which a new contrasting motif or theme is the result of the transformation of the previous material. The new grows out of the old, which turns into its own opposite.

Continuity of development and qualitative changes images. The development of topics begins literally from the very beginning of their presentation. So, in the 5th symphony in the first part there is not a single bar of the actual exposition (with the exception of the “epigraph” - the very first bars). Already during the main part, the initial motif is strikingly transformed - it is perceived both as a “fatal element” (the motive of fate) and as a symbol of heroic resistance, that is, the beginning opposing fate. The theme of the main part of the "Heroic" symphony is also extremely dynamic, which is also immediately given in the process of rapid development. That is why, despite the laconicism of Beethoven's themes, the parties of sonata forms are very developed. Starting in the exposition, the development process covers not only the development, but also the reprise and the code, which turns, as it were, into a second development.

· Qualitatively new unity of the sonata-symphony cycle , compared to the cycles of Haydn and Mozart. Symphony becomes "instrumental drama”, where each part is a necessary link in a single musical and dramatic “action”. The culmination of this "drama" is the finale. The brightest example of Beethoven's instrumental drama is the "Heroic" symphony, all parts of which are connected by a common line of development, directed to a grandiose picture of a national triumph in the finale.

1. Speaking of Beethoven's symphonies, one should emphasize his orchestral innovation. From innovations:

2. The actual formation of the copper group. Although the trumpets are still played and recorded together with the timpani, functionally they and the horns are beginning to be treated as a single group. They are joined by trombones, which were not in the symphony orchestra of Haydn and Mozart. Trombones play in the finale of the 5th symphony (3 trombones), in the thunderstorm scene in the 6th (here there are only 2 of them), and also in some parts of the 9th (in the scherzo and in the prayer episode of the finale, as well as in the coda).

3. compaction of the "middle tier" makes it necessary to increase the vertical from above and below. Above appears the piccolo flute (in all the cases indicated, except for the prayer episode in the finale of the 9th), and below - the contrabassoon (in the finales of the 5th and 9th symphonies). But in any case, there are always two flutes and bassoons in a Beethoven orchestra.

Continuing the traditions of Haydn's London Symphonies and Mozart's late symphonies, Beethoven enhances the independence and virtuosity of the parts of almost all instruments, including the trumpet and timpani. He often has really 5 string parts (double basses are separated from cellos), and sometimes more (divisi playing). All woodwinds, including the bassoon, as well as horns, can solo, performing very bright material.

Symphony No. 3 "Heroic"

Already being the author of eight symphonies (that is, until the creation of the last, the 9th), when asked which of them he considers the best, Beethoven called the 3rd. Obviously, he had in mind the fundamental role played by this symphony. "Heroic" opened not only the central period in the work of the composer himself, but also a new era in the history of symphonic music - the symphony of the XIX century, while the first two symphonies are largely associated with art XVIII century, with the work of Haydn and Mozart. The fact of the alleged dedication of the symphony to Napoleon, whom Beethoven perceived as the ideal of a national leader, is known. However, as soon as he learned about the proclamation of Napoleon as Emperor of France, the composer angrily destroyed the original dedication. The extraordinary figurative brightness of the 3rd symphony prompted many researchers to search for a special programmatic idea in its music. However, links to specific historical events not here - the music of the symphony generally conveys the heroic, freedom-loving ideals of the era, the very atmosphere of the revolutionary time.

The four parts of the sonata-symphony cycle are four acts of a single instrumental drama: Part I draws a panorama of the heroic battle with its pressure, drama and victorious triumph; Part 2 develops the heroic idea in a tragic way: it is dedicated to the memory of fallen heroes; the content of part 3 is overcoming grief; Part 4 is a grandiose picture in the spirit of the mass festivities of the French Revolution. Much has the 3rd symphony in common with the art of revolutionary classicism: the citizenship of ideas, the pathos of a heroic deed, the monumentality of forms. Compared to the 5th symphony, the 3rd is more epic, it tells about the fate of an entire nation. An epic scope distinguishes all parts of this symphony, one of the most monumental in the entire history of classical symphonism.

Truly grandiose proportions Part I, which A.N. Serov called "eagle allegro". main topic(Es-dur, cello), preceded by two powerful orchestral tutti chords, begins with generalized intonations, in the spirit of mass revolutionary genres. However, already in the 5th measure, the wide, free theme seems to run into an obstacle - the altered sound “cis”, emphasized by syncopations and a deviation in g-moll. This brings a shade of conflict into the courageous, heroic theme. In addition, the topic is extremely dynamic, it is immediately given in the process of rapid development. Its structure is like a growing wave, rushing to the climax, which coincides with the beginning of the side part. This "wave" principle is maintained throughout the exposition. Side party done in a very unconventional way. It has not one, but 2 themes. Both of them are lyrical, written in the same key of B-dur, but the first one is based on three-sound motifs from woodwinds and strings (roll call), which gives it a pastoral character, while the second one has a denser texture, sounds gentle and dreamy. Between these two themes is placed dramatic element, personifying the image of an ominous force. It has a dramatic character, imbued with impetuous energy; its rhythmic basis is an eighth note and two 16th notes. Mind support. VII 7 makes it unstable.

Like exposure development(the picture of the struggle) is multi-dark, almost all the themes of the exposition are developed in it. The themes are given in conflict interaction with each other, their appearance changes profoundly. So, for example, the theme of the main part at the beginning of development sounds gloomy and tense (in minor keys, lower register). A little later, a 2nd secondary theme joins it contrapuntally, reinforcing the overall dramatic tension. It is no coincidence that a new, sad theme appeared in E minor in the timbre of the oboe, which is perceived as a lament for the dead heroes. It is this gentle and sad music that becomes the result of the previous powerful pressure. intonation changes in main topic continue in reprise. The tonal coloring of the theme changes: instead of a deviation in g-moll, bright major colors shine. Like development, part I code is one of the

the most grandiose in terms of volume and dramatically intense. In a more concise form, it repeats the path of development, but the result of this path is different: not a mournful climax in a minor key, but the assertion of a victorious heroic image. The final section of the coda creates an atmosphere of national triumph, a joyful impulse, which is facilitated by a rich orchestral texture with the hum of timpani and brass fanfares.

II part(c-moll) - switches figurative development into an area of ​​great tragedy. The composer called it the "Funeral March". The main theme of the march - the melody of a mournful procession - combines the rhetorical figures of exclamation (repetition of sounds) and crying (second sighs) with "jerky" syncopations, quiet sonority, minor colors. The mourning theme alternates with another, masculine melody in Es - dur, which is perceived as a glorification of the hero. The composition of the march is based on the complex 3 x-part form characteristic of this genre with a major light trio (C-dur). However, the 3-part form is filled with a through symphonic development: the recapitulation, starting with the usual repetition of the initial theme, unexpectedly turns into f-moll, where it unfolds fugato on new topic(but related main). The music is filled with tremendous dramatic tension, the orchestral sonority is growing. This is the climax of the whole piece. In general, the volume of the reprise is twice as large as the first part. Another new look- lyrical cantilena - appears in the code (Des - dur): in the music of civil sorrow, a "personal" note is heard.

The most striking contrast in the entire symphony is between the Funeral March and the following Scherzo, folk images which is being prepared by the Final. The music of the Scherzo (Es - dur, a complex 3-part form) is all in constant movement, impulse. Its main theme is a fast-rushing stream of strong-willed invocative motives. In harmony - an abundance of ostinato basses, organ points, forming original-sounding quart harmonies. Trio filled with the poetry of nature: the fanfare theme of the three solo horns resembles the signals of hunting horns.

IV part(Es-dur, variations) – this is the culmination of the entire symphony, the affirmation of the idea of ​​a national triumph.

Beethoven's famous Moonlight Sonata appeared in 1801. In those years, the composer experienced not best time In my life. On the one hand, he was successful and popular, his works became more and more popular, he was invited to famous aristocratic houses. The thirty-year-old composer gave the impression of a cheerful, happy person, independent and despising fashion, proud and contented. But Ludwig's soul was tormented by deep feelings - he began to lose his hearing. This was a terrible disaster for the composer, because before his illness, Beethoven's hearing was distinguished by amazing subtlety and accuracy, he was able to notice the slightest wrong shade or note, almost visually imagined all the subtleties of rich orchestral colors.

The causes of the illness remain unknown. Perhaps it was an excessive strain of hearing, or a cold and inflammation of the ear nerve. Be that as it may, unbearable tinnitus tormented Beethoven day and night, and the whole community of medical professionals could not help him. Already by 1800, the composer had to stand very close to the stage in order to hear the high sounds of the orchestra playing, he could hardly distinguish the words of the people who spoke to him. He hid his deafness from friends and relatives and tried to be less social. At this time, the young Juliet Guicciardi appeared in his life. She was sixteen, she loved music, played the piano beautifully and became a student of the great composer. And Beethoven fell in love, immediately and irrevocably. He always saw only the best in people, and Juliet seemed to him perfection, an innocent angel who came down to him to quench his anxieties and sorrows. He was captivated by the cheerfulness, good nature and sociability of the young student. Beethoven and Juliet began a relationship, and he got a taste for life. He began to go out more often, he again learned to enjoy simple things - music, the sun, the smile of his beloved. Beethoven dreamed that someday he would call Juliet his wife. Filled with happiness, he began work on a sonata, which he called "Sonata in the Spirit of Fantasy."

But his dreams did not come true. The windy and frivolous coquette started an affair with the aristocratic Count Robert Gallenberg. She became uninterested in a deaf, unsecured composer from a simple family. Very soon Juliet became the Countess of Gallenberg. The sonata, which Beethoven began to write in a state of real happiness, delight and trembling hope, was completed in anger and fury. Its first part is slow and gentle, and the finale sounds like a hurricane sweeping away everything in its path. After Beethoven's death in his box desk there was a letter that Ludwig addressed to the careless Juliet. In it, he wrote about how much she meant to him, and what longing came over him after Juliet's betrayal. The composer's world collapsed, and life lost its meaning. One of Beethoven's best friends, the poet Ludwig Relshtab, called the "Moonlight" sonata after his death. At the sounds of the sonata, he imagined the quiet expanse of the lake and the lonely boat floating on it under the unsteady light of the moon.