The main theme of Beethoven's work. Great Musical Works of Ludwig van Beethoven

The piano work of Ludwig van Beethoven is the subject of numerous studies. Even during the life of the composer, it caused a lot of controversy. And at present, many problems related to understanding remain unresolved. author's intention. The influence of Beethoven on the works of his contemporaries has not been sufficiently studied, which would make it possible to assess the composer's piano work in the context of the era. The attitude of contemporaries to Beethoven's piano music has also been little studied. Therefore, there is a need to expand and deepen the study piano works Beethoven historically.

The importance of this approach is due to the fact that Beethoven's piano work dates back to the period from 1782 to 1823, i.e. it is inextricably linked with the Enlightenment, the Sturm und Drang movement, the French Revolution of 1789-1794. and the national liberation struggle of the peoples of Europe against the invasion of Napoleon.

This time is characterized by the revival of concert life and the tendency to form a stable repertoire. The music of the Viennese classics and, first of all, of Beethoven raises the problem of interpretation and becomes a stimulus for the rapid development of performance. The first third of the 19th century is the era of outstanding pianists, who from that time began to perform not only their own compositions, but also the music of other authors. The study of Beethoven's piano work in connection with the general process of the development of piano music at the end of the 18th - the first third of the 19th century allows us to understand, on the one hand, how the composer applied the achievements of his time in his works; on the other hand, what is the uniqueness of Beethoven's music.

The flourishing of piano performance was also facilitated by the rapid development of the instrument. The "hammer piano", invented in 1709 by B. Cristofori, began to supplant its predecessors - the clavichord and harpsichord - by the end of the 18th century. This happened, firstly, due to the fact that the piano revealed new expressive possibilities that the ancient pianos were deprived of. keyboard instruments. Secondly, at the end of the 18th century, the requirements for performing skills increased so much that the harpsichord and clavichord could no longer satisfy either performers or listeners. Therefore, by the end of the 18th - beginning of the 19th century, the piano became the most common instrument, which was widely used both at concerts and in home music-making and teaching. Increasing interest in the piano contributed to the intensive development of the production of instruments. At the beginning of the 19th century, the factories of J.A. Streicher in Vienna were most famous. T. Broadwood in London and S. Erara in Paris.

The difference between Viennese and English instruments was especially striking. The accuracy, clarity and transparency of the sound of Viennese instruments made it possible to achieve the utmost clarity and use faster tempos. The heavy and deep mechanics of the English pianos, which gave fullness to the sound, made it possible to use the effects of dynamic contrasts and the richness of the colors of the sound.

We find a detailed description of the Viennese and English types of pianoforte in I.N. Gummel’s Comprehensive Theoretical and Practical Guide to Piano Playing (1828): “It cannot be denied that each of these mechanics has its own advantages. The gentlest hands can play the Viennese. It allows the performer to reproduce all sorts of nuances, sounds distinctly and without delay, has a rounded flute-like sound that stands out well against the background of an accompanying orchestra, especially in large rooms. It does not require too much tension when performed at a fast pace. These instruments are also durable and cost almost half the price of English ones. But they must be treated according to their properties. They do not allow either sharp blows and knocking on the keys with the whole weight of the hand, or a slow touch. The strength of the sound should be manifested only through the elasticity of the fingers. For example, full chords in most cases are quickly laid out and produce an effect much greater than if the sounds were extracted at the same time, and even with force. [.]

English mechanics must also be given credit for their solidity and fullness of sound. These instruments, however, do not accept such a degree of technique as the Viennese ones; due to the fact that their keys are much heavier to the touch; and they go down much deeper, and therefore the hammers during rehearsal cannot function so quickly. Those who are not accustomed to such instruments should not be shocked by the depth of the keys and the heavy touch; if only not to drive the pace and play all the fast pieces and passages with quite familiar ease. Even powerful and fast passages must be played like German instruments, with finger strength rather than hand weight. For with a strong blow you will not achieve a more powerful sound, which can be extracted by the natural elasticity of the fingers, because. this mechanic is not very suitable for so many sound gradations as ours. True, at first glance, you feel a little uncomfortable, because, especially in forte passages, we press the keys to the very bottom, which here should be done more superficially, otherwise you play with great effort and double the complexity of the technique. On the contrary, melodious music acquires on these instruments, thanks to the fullness of sound, a peculiar charm and harmonic harmony” (83; 454-455).

Thus, Hummel seeks to give an objective assessment of both types of tools and clearly shows their positive and negative sides, although in general he still tries to identify the advantages of the Viennese pianoforte. First, he emphasizes the strength and relative cheapness of these tools. Secondly, Viennese mechanics, in his opinion, provides more opportunities for dynamic gradations. Thirdly, the sound of the Viennese pianos stands out well against the background of a large orchestra, unlike the English ones. According to Hummel, the latter "are often credited with a thick, full sound, which hardly stands out from the sounds of most of the instruments of the orchestra" (ibidem; 455).

The reason for the difference in the construction of Viennese and English instruments lies in the requirements that the musicians of that time placed on the piano, and in the conditions in which the music was performed. In Vienna, piano manufacturers adapted to the prevailing artistic tastes. The concert life there was not sufficiently developed, since there were no halls designed specifically for concerts, and there were no professional organizers of performances. Since music was performed mainly in small rooms of aristocratic salons, an instrument with a powerful sound was not required. Viennese instruments were intended more for home music and piano learning than for large concert performances. London manufacturers produced instruments for large halls. Already at that time, paid public concerts began to spread in England, and people appeared who organized them (J.K. Bach, K.F. Abel, I.P. Salomon). Therefore, English instruments had a richer sound.

Beethoven throughout his creative activity showed interest in the development of the pianoforte. The composer had the opportunity to play different types of instruments, each of which had its own sound characteristics that distinguished it from others. But Beethoven was not completely satisfied with any of the instruments of his time. The main reason was the objective shortcomings that the composer found in the playing of many of his contemporaries, especially their inability to play legato. In a letter to J.A. Streicher, Beethoven noted that “from the point of view of performing arts, the pianoforte remains the least cultivated of all musical instruments. It is often thought that only the harp is heard in the sound of the piano. The piano can sing as long as the player is able to feel. I hope that the time will come when the harp and piano will be like two completely different instruments” (33; J 00).

We know of three surviving instruments used by Beethoven: French (S. Erar), English (T. Broadwood) and Austrian (K. Graf). The first two had the greatest influence on the composer's work. The instrument, presented to Beethoven in 1803 by the French manufacturer S. Erard, had the possibility of double rehearsal, which in itself gave him great advantages. The French piano made it possible to extract a beautiful sound, but subject to high finger control and a sensitive touch. However, Beethoven was dissatisfied with this instrument from the very beginning. However, Beethoven kept Erard's piano until 1825, when he gave it to his brother. The instrument is currently in the Kunsthistorisches Museum in Vienna.

Graf's instrument was not of decisive importance for Beethoven's piano work, since by 1825 the composer could no longer hear. In addition, in the last years of his life, Beethoven created little piano music. A feature of the Count's instrument was that there were four strings for each hammer. However, the sound was dull, especially in the upper register. Graf's piano is now in Beethoven's Bonn house.

What instruments did Beethoven prefer? It is known that he highly appreciated the piano with the "Viennese" type of mechanics. Even in the Bonn period, the composer showed a clear preference for Stein's instruments, and later - in Vienna - for Streicher's instruments. Both types of piano were connected by the same tradition. In 1792, I.A. Stein died, leaving his factory to his daughter - later Nanette Streicher. In 1794, Stein's factory moved to Vienna, which at that time was the largest musical center. The Stein-Streicher pianos were the most characteristic instruments of the "Viennese" type; the instruments of other Viennese masters were only imitations. The advantage of Streicher's piano was that their keys made it possible for a superficial, light, sensitive touch and a melodious, clear, albeit fragile, timbre.

Such characteristics suggest that Streicher understood and felt the piano's ability to 'sing'. Beethoven welcomed the desire of the piano master to give his instruments a melodious sound. Nevertheless, Beethoven recognized the best instrument with the “Viennese” type of mechanics as unsuitable for himself personally, considering it “too “good””, since “such an instrument deprives me of the freedom to develop my own tone” (33; 101). Consequently, the new instrument almost freed the performer from the need to find his own style of performance and vary the usual coloring of the sound. Viennese instruments were more suitable for Hummel's elegant style, but, as K. Sachs notes, they could not express the power and save Beethoven's sonatas (123; 396).

Expressing a critical attitude towards Streicher's instruments, Beethoven at the same time encouraged the desire of the piano manufacturer to create a new type of instrument: like me" (33; 101).

Streicher heeded the criticism, and in 1809 his factory produced an instrument of a new design, which Beethoven praised highly. As I.F. Reichardt testifies, “on the advice and desire of Beethoven, Streicher began to give his instruments more resistance and elasticity, so that the virtuoso, playing with energy and depth, could have at his disposal a more extended and coherent sound” (42; 193).

Yet Beethoven, by his explosive nature, gravitated towards more powerful sonorities, appropriate scales and an energetic style of performance that evokes orchestral effects. In 1818, the Englishman T. Broadwood invented an instrument with an extended range and a heavier, deeper and more viscous keyboard. This piano was much more suited to Beethoven's playing style. It was for him that the last 5 sonatas and Variations op.120 were written. Broadwood's instrument possessed, on the one hand, the ability to convey feelings more intensely and. on the other hand, it compensated for the growing deafness of the great musician.

How was the concert life of Vienna in the late 18th and early 19th centuries? Instrumental music was widespread there. But open concerts were held relatively rarely. In this respect, Vienna was no match for London. Only a few musicians, like, for example, Mozart, dared to give their "academies", which they announced by subscription among the nobility. In 1812, J. von Sonleitner and F. von Arnstein founded the Society of Music Lovers, which regularly held public "academies" for the benefit of widows and orphans of musicians. At these concerts, symphonies and oratorios were performed, and the composition of the orchestra often reached 200 people. In fact, the only form of open performances was charity concerts, which had to be organized by the performers themselves. They rented premises, hired an orchestra and soloists, and advertised the concert in the Wiener Zeitung. Musicians had the opportunity to hold their "academies" in theaters during church fasts and on days of mourning for members of the imperial family, when entertaining performances were forbidden. Beethoven's first performance as a pianist was in 1795 at the Easter Concerto, where he performed his Second Piano Concerto. Also noteworthy are the morning concerts of the orchestra, which the aristocrats organized in the hall of the Vienna Augarten.

Yet these rare public performances did not play a significant role in the development of solo piano performance. Beethoven, like other musicians of that time, had to achieve recognition mainly in aristocratic salons. An important role in the musical life of Vienna and in the formation of Beethoven's taste was played by the activities of Baron G.F. to you Swieten, an admirer of the music of Bach and Handel, who arranged morning concerts in the National Library.

The era of the end of the 18th - the first third of the 19th century was also marked by the flourishing of Western European music criticism. In the 1790s important processes took place in the art of music. As a result of the development of Viennese classical instrumental music, a new idea of ​​a piece of music was gradually formed. The self-worth of a separate essay came to the fore. The works “put forward enormous demands on being perceived independently. It was no longer the genre that determined individual compositions, but, on the contrary, they were the genre” (91; VIII). At this time, there was a tendency to analyze musical works, and not only to direct perception in concert performance. In critical reviews, musical works began to seem to acquire new life. It was then that a large number of responses to concerts and new compositions appeared. There are large reviews with a detailed analysis of the works. Many outstanding composers are engaged in publicistic activity.

The most authoritative edition of musical periodicals of the beginning of the 19th century was the Leipzig AUgemeine musikalische Zeitung, with which F. Rochlitz, E.T.A. Hoffmann, I. Seyfried and other critics collaborated. The newspaper was published weekly for 50 years (from the end of 1798 to 1848). But it reached its peak in the first 20 years thanks to Friedrich Rochlitz (1769-1842), who was its editor until 1818. Moreover, according to E. Hanslick, “the Leipzig musical newspaper [.] in the decade from 1806 to thanks to Beethoven, it was the only organ of the musical press in Germany" (81; 166).

One of the most important sections of the Leipzig newspaper were reviews of new musical compositions, which the editorial staff conditionally divided into three types. The most significant creations were presented in large articles containing detailed analysis. Works of a sufficiently high level, but having nothing outstanding, were given brief notes. With regard to minor works, the editors limited themselves to mentioning their existence.

From 1818 to 1827 the Leipzig newspaper was led by G. Gertel. In 1828 he was succeeded by Gottfried Wilhelm Finn (1783-1846), who, however, could not raise the newspaper to the same high level as Rochlitz. AmZ could not compete with the Leipzig Neue Zeitschrift fur Musik, headed by R. Schumann. From 1841 to 1848 the newspaper was led by K.F. Becker, M. Hauptman and I.K. Lobe.

In Vienna at the beginning of the 19th century there were no major musical periodicals. Music magazines came out for a short time. Among them were the Wiener Journal fur Theatre, Musik unci Mode (1806) and the journal Thalia published by I.F. Castelli (1810-1812). In 1813, Wiener allgemeine musikalische Zeitang was published during the year under the direction of I. Schöngolts, in which articles by famous musicians associated with the Vienna Music Lovers' Society were published. Among them were I. von Mosel and I. von Seyfried. Then, from 1817, after a three-year break, in the publishing house "Steiner and Comp." she began to appear again under the name Allgemeine musikalische Zeitung rn.it besonderes Rucksicht auf den osterreichische Kaiserstaat. Issues of the first two years did not mention the editor's name. Then the name of I. Zeyfrid appeared as an editor. From 1821 to 1824 the newspaper was headed by the writer, composer and music critic A.F. Kanne (1778-1833). His judgments were distinguished by deliberation and balance. Kanne stood up for Beethoven during the attacks on his later works.

The peculiarity of the Viennese musical periodicals of the early 19th century, as E. Hanslik notes, is that they “fall under the general concept of united or organized dilettantism” (81; 168). Most of their employees were amateur musicians, in particular - L. Sonleigner, Baron Lannoy, A. Fuchs and others. The leading critic of the Wiener allgemeine musikalische Zeitung in 1817 was I. von Mosel, who wrote articles for other music publications. Beethoven highly appreciated his literary talent, but criticized him for his amateurish approach.

From 1824 to 1848 in Mainz, under the direction of J.G. Vsber, the journal Cdcilia was published, in which articles by I. Seyfried, A. B. Marx, von Weiler and other musicians were published. In his judgments, the editor of the magazine revealed unprofessionalism and bias, which repeatedly provoked a stormy reaction from Beethoven.

From 1823 to 1833 The Harmonicon magazine was published in London, which, while paying tribute to Beethoven's merits, nevertheless repeatedly expressed a lack of understanding of his late style.

in Germany in the 1820s. Berliner allgemeine musikalische Zeitung, founded by A.B. Marx and A.M. Schlesinger, which was published from 1824 to 1830, acquired great importance. It contained articles by A.B. Marx, which played a huge role in understanding latest works Beethoven.

Reviews of the first half of the 19th century are the most important historical documents, giving the most vivid idea of ​​the era, which for us is primarily associated with the name of Beethoven. Meanwhile, in this era, other pianist-composers also clearly showed themselves in the field of piano creativity, often associated with Beethoven by personal and professional ties. Therefore, in this work, the piano works are studied not only by Beethoven, but also by his contemporaries - mainly J.B. Kramer and I.N. Gummell.

Beethoven's piano work is usually understood as works for solo piano: sonatas, concertos, variations, various pieces (rondos, bagatelles, etc.). Meanwhile, this concept is broader. It also includes chamber ensembles with pianoforte. In the era of Viennese classicism (in particular, during the time of Beethoven), the role of the piano in ensembles was considered dominant. In 1813, E.T.A. that "trios, quartets, quintets, etc., in which [the piano] is joined by familiar string instruments, belong to the domain of piano creativity" (AmZ XV; 142-143). On the title pages of lifetime editions of chamber works by Beethoven and his contemporaries, the piano featured in the first place, for example, Sonata for Piano and Violin, Trio for Piano, Violin and Cello, etc.). Sometimes the piano part was so independent that the accompanying instruments were designated ad libitum. All these circumstances make it necessary to consider the piano works of Beethoven and his contemporaries in full.

In order to study the influence of Beethoven on his contemporaries, as well as to understand the work of the great master, it is advisable to consider the piano works of the two most authoritative composers and outstanding virtuoso pianists, representatives of the two largest pianistic schools, Johann Baptist Cramer and Johann Nepomuk Hummel. We will leave aside such rivals of Beethoven as I. Wölfl and D. Steibelt - partly because they belong to a completely different, salon-virtuoso direction of the performing arts, and partly because these composers are incomparable in importance with Beethoven. At the same time, for example, the works of such a significant composer and pianist as M. Clementi will not be considered in detail here, because. the origins of his work are still not directly connected with Germany and Austria. Kramer, although he lived almost all his life in England, was always closely associated with German traditions. As the reviews of the first third of the 19th century show, critics valued the works of Cramer and Hummel no lower than the music of Beethoven, and sometimes even higher. While Hummel and Cramer were still alive, the AmZ reviewer in 1824 called them “superb masters in composing and playing for pianoforte. but very different in both respects” (AmZ XXVI; 96). In many sayings, their names are placed next to the names of their great contemporaries. So, Kramer admitted that "after Mozart, Hummel is the greatest piano composer, unsurpassed by anyone" (94; 32). In 1867, the LAmZ critic called Cramer "a highly significant composer, for whom, in the new piano literature, we without any hesitation recognize one of the first places after Beethoven, if not the first" (LAmZ II; 197). In addition, Kramer for Beethoven was the only pianist whom he fully recognized. Beethoven had a long friendship with Hummel.

The formulation of the theme involves expanding the circle of sources, which are divided into two types: criticism and directly musical texts. The necessary material for the study is the reviews of the piano works of Beethoven and his contemporaries in the musical periodicals of Western Europe at the end of the 18th - the first half of the 19th century. These reviews vividly reflect the evolution of the perception of Beethoven's work by the composer's contemporaries. The analysis is directed directly to Beethoven's piano compositions (mainly large ones). The main attention is paid to solo piano works - sonata and variation cycles. Important material is the major works of the composer's contemporaries: Cramer's piano sonatas and concertos, piano sonatas, chamber compositions and Hummel's concertos. as well as the Clementi sonatas. The object of analysis is also the piano variations of the Viennese classics (Haydn and Mozart) and variational works of the late 18th - first third of the 19th century by Steibelt, Kramer, Hummel and the collective composition of the composers of the Austrian Empire - Diabelli's Fifty Variations on a Waltz.

This extensive material makes it possible to shed light on the attitude of contemporaries to Beethoven's piano work in a new way and connect it with the processes characteristic of piano music of the late 18th - first third of the 19th century, which is the main goal of the study. The novelty of the approach puts forward certain tasks, among which the main one is the analysis of reviews of the works of Beethoven and his contemporaries, as well as the comparison of reviews from different critics. Along with this task, it is necessary to study the piano works of some of the composer's contemporaries in order to establish the influence of Beethoven's style on the music of his era. It is equally important to determine the role of Beethoven in the historical development of piano variations as one of the most widespread genres by comparing the piano variation cycles of Beethoven and his contemporaries. Consideration of Beethoven's piano work is also essential in connection with the trends in the performance of his time, which manifest themselves through a comparison of performance instructions in major works by the composer and his contemporaries.

The structure of the dissertation is connected with the logic of construction of its main parts. 10 sections are grouped into 3 chapters, each of which presents Beethoven's piano work in different aspects. In the first chapter it is covered as a whole, in the other two chapters - in certain genres and in connection with specific performance problems. The first chapter does not contain a direct analysis of Beethoven's piano work: it is considered from the point of view of the perception of criticism and piano works by J.B. Kramer and I.N. Gummel. The works of these composers, in order to identify analogies with the work of Beethoven, are presented both through the reviews of contemporaries, and in the form of an overview of the most important genres. The second chapter is entirely devoted to variations - one of the most common genres and a favorite form of improvisation at the end of the 18th - the first third of the 19th century. The subject of analysis here are the piano variation cycles of Beethoven and his contemporaries, as well as parts of major works in variation form. The third chapter deals with major cyclic compositions - piano sonatas and concertos. The focus is on the piano texture, technique and performance instructions of Beethoven and the largest virtuoso pianists, in whose works there are connections with the work of Beethoven - M. Clementi, J. B. Kramer and I. N. Gummel.

The most important materials for studying Beethoven's piano work are lifetime critical reviews and brief notes, as well as responses to his concerts. The largest number of responses appeared in the Leipzig Allgemeine musikalische Zeitung (50), the largest musical periodical in Europe. They give a wide panorama of assessments of Beethoven's work and show an ambiguous attitude towards the works of the composer, in particular - to the piano. Of considerable interest are the articles of the German musicologist and composer A.B. Marx, devoted to Beethoven's late sonatas and showing a deep understanding of the composer's style. These reviews are abridged in the fifth volume of the study by V. Lenz, published in 1860 (96). Some responses to Beethoven's late works published in the Wiener Zeitung are given in A.W. Thayer's chronological index, published in 1865 (128). The ambiguity of assessments of Beethoven's work is clearly manifested in the reviews of 1825-1828. the Mainin magazine Cacilia (57).

Reviews of the work of the early period are an important source for characterizing the life and work of the composer. The first analysis of reviews of Beethoven's works was made by A. Schindler in 1840, who cites fragments of some reviews of 1799-1800. with brief comments (128; 95102). A.V. Thayer in the biography of the composer gives a brief description of the reviews of 1799-1810. (133, Bd.2; 278-283).

For a long time, reviews of the late 18th - first third of the 19th century on Beethoven's works were forgotten. Increased attention to them is observed in the 1970s, which is associated with an increase in interest in Beethoven's work as a whole. It was at this time that individual reviews of the composer's contemporaries appeared in the Russian translation. In 1970, the first volume of Beethoven's letters was published, edited by N.L. Fishman, which contains reviews of 1799-1800. on piano works of the composer (33; 123-127). In 1974, a slightly abridged translation of E.T.A. Hoffmann's review of two trios op. 70 appears, which is placed in the appendix to the book by A.N. In the 1970s there is a desire to analyze and critically evaluate lifetime reviews of Beethoven's work, as well as to study the relationship between the composer and his contemporaries. In 1977, a book by P. Schnaus (130) was published, in which the role of E.T.A. German writer to the works of Beethoven. The book also contains a systematization and analysis of reviews published in AmZ from the first 10th anniversary of the 19th century.

In the 1980s, there was a particular interest in reviews of Beethoven's later works. The materials of the Bonn symposium in 1984 contain an article by the Swiss musicologist St. Kunze on the perception by contemporaries of the late work of the composer (93). In Russian, excerpts from reviews of Beethoven's later piano compositions are presented for the first time in the thesis work of L.V. Kirillina (17; 201-208), where the reviews of an anonymous Leipzig reviewer and A.B. concepts in music theory at the beginning of the 19th century.

For the first time, reviews of contemporaries about Beethoven's works were combined into one whole in 1987 in the book of Kunze (94). It contains reviews, notes and responses to concerts in the musical periodicals of Western Europe from 1799 to 1830. in German, English and French. To date, this is the most complete collection reviews of Beethoven's works, giving a holistic view of the attitude of contemporaries to the composer's work.

Of all the genres of Beethoven's piano music, variations remain the least explored to date, to which, for this reason, we pay special attention. In the early 1970s the analysis of piano variations of the early and mature periods was made by the English musicologist G. Truscott, and the analysis of chamber variation works - by N. Fortune in the collection of articles "The Beethoven Companion" (55). In 1979, a study by V.V. Protopopov appeared, devoted to the variational form. It contains an essay on Beethoven's variations, which shows their evolution from the point of view of the structure of the variation cycle (37; 220-324). A description of all Beethoven's works in the genre of variations is contained in the first volume of the book by J. Ude (138).

Much more research is devoted to individual variational cycles. An analysis of some variations of the early period was made in 1925 by L. Schiedermayr

125). V. Paskhalov analyzed the Russian themes in Beethoven's works on the example of the Variations on Vranitzkoto's ballet Wo071 (32). In 1961, an article by G. Keller on Variations on the Rigi's Arieta or Wo065 (87) was published in the NZfM. An analysis of variations up to 1802 was made by N.L. Fishman in 1962 (19; 55-60).

Since the middle of the 20th century, interest in variations in the "new manner" has increased. Variations op.35 are considered mainly from the point of view of comparison with the composer's symphonic works related to the same theme. This aspect, in particular, is touched upon in an article by P. Mies written in 1954 (104). The most significant works devoted to variations of op.34 and op.35 are the studies of N.L. Fishman (19; 60-90 and 42; 49-83), based on the study of Beethoven's sketches.

Of great interest to researchers were 32 variations of WoOSO. P. Mis, analyzes this work from the point of view of form (102; 100-103). The problems of performing s-toP "variations are considered in the article by A.B. Goldenweiser (10). B.L. Yavorsky (49) and L.A. Mazel (25) characterize the composition from the point of view of structure. In the historical aspect, 32 variations for the first time considered in the article by L.V. Kirillina (18), which shows figurative and thematic connections with P. Winter's operas.

Variation cycles op.105 and op.107 have attracted attention relatively recently. In the 1950s, articles by the English researchers C. B. Oldman (116) and D. W. McArdle (99) appeared about the history of the creation of these works and the relationship between Beethoven and the Edinburgh publisher G. Thomson.

The largest number of studies is devoted to Beethoven's last piano variation cycle - Variations op.120. In 1900, D.F. Tovey analyzed the motive structure of Diabelli's waltz and traced the development of each element in Beethoven's Variations (135; 124-134). A detailed analysis of the harmonies and structure of each variation was carried out in the 1950s. E. Blom (57; 48-78). These two works were supplemented in the early 1970s. in the article by F. Barford, dedicated to the late period of Beethoven's work (55; 188-190). The original concept was proposed in 1971 by M. Butor, who put forward the idea of ​​the symmetry of the structure of the Variations op.120, comparing them with the Goldberg Variations by J.S. Bach (59). An analysis of the work from the point of view of innovation in the field of harmony and the structure of the variational cycle is made in the article by O.V. Berkov (7; 298-332). In 1982, a study from the point of view of the structure, made by A. Münster (108), appeared. The most extensive is the study by V. Kinderman, published in 1987 (88), in which, based on Beethoven's sketches, the exact chronology of the creation of the work is restored and an analysis of the style of the work is made. IN historical context Variations op.120 were first considered as early as 1823-1824. in reviews of the Wiener Zeitung. The question of comparing the two largest cycles of the first third of the 19th century on the theme of Diabelli - Beethoven's Thirty-three Variations and the collective work of his contemporaries - was partly raised at the beginning of the 20th century in an article by H. Rich (120; 2850) and was continued in 1983 in the preface by G Brochet for the new edition of Fifty Variations (58).

As for Beethoven's performance instructions, there were no special studies on this problem until the middle of the 20th century. In 1961, I. A. Braudo published a book on articulation (9), which deals with the expressive meaning of Beethoven's leagues. In 1965 A. Aroiov (5) wrote an article devoted to the analysis of dynamics and articulation in the composer's piano works. In the context of the era, Beethoven's performing instructions are first considered in the study by G. Grundman and P. Mies, which appeared in 1966 (77). It provides an analysis of pedal notations, slurs, and fingerings. Two articles from this collection in the early 1970s. translated into Russian (15, 16). NL Fishman's article "Ludwig van Beethoven on piano performance and pedagogy" (42; 189-214) analyzes the designations of tempo and character of expressiveness in Beethoven's piano sonatas. The most extensive study of Beethoven's performance instructions and texture is the book by W. Newman (110). In 1988, in the dissertation of S.I. Tikhonov (40), an analysis was made of performing instructions (in particular, pedals) in piano concertos. In the book by V. Margulis (29) the theory of tempo kinship is put forward, which is confirmed by the material of the Sonata op.111. The article by A.M. Merkulov (30) analyzes the performance designations in various editions of Beethoven's sonatas. The dissertation of D.N. Chasovitin (45) is devoted to performing phrasing.

The piano works of Beethoven's contemporaries are still little explored. Analysis of Cramer's piano style and brief analysis some of his sonatas were made in the 1830s by F.J. Fetis (73). A. Gati (76) wrote about Cramer's performing skills in 1842. In 1867, anonymous Memoirs (145) appeared in LAmZ, in which an analysis of the composer's work was made. A description of Cramer's piano concertos is contained in G. Engel's dissertation, written in 1927 (70). T. Schlesinger's dissertation (129) written in 1828 remains the only study specifically devoted to Cramer's work. It contains an analysis of the style of the composer's sonatas, as well as a description of Kramer's entire piano work with a mention of the main reviews of his compositions published in German and English newspapers of the first third of the 19th century. As for the composer's chamber ensembles (piano sonatas with obligatory accompaniment, two quintets, etc.) and other works, they still require special study.

The work of I.N. Gummel has been studied much better. An important material for the study of his works are reviews placed in the Leipzig Allgemeine musikalische Zeitung from 1798 to 1839. In 1847, I.K. Lobe, editor of AmZ from 1846 to 1848, published his article "Conversations with Hummel", devoted to the composition method and creative process composer (AmZ HYH; 313-320). Of great interest are the responses in the Leipzig Neue Zeitschrift fur Musik: an article by the founder and editor of the journal R. Schumann about Etudes op. 125 (June 5, 1834) and C. Montag's obituary with a brief description of the composer's life and work (107). In 1860, in the Vienna Deutsche Musik-Zeitung, memoirs about Hummel appeared, written by A. Kalert (85).

In 1934, the most complete monograph on Hummel was published - the book by K. Benevski (56), which, in addition to characterizing his creative path, contains selected correspondence between Hummel and his contemporaries, as well as the first list of works. The first systematic index of Hummel's works was compiled in 1971 by D. Zimmershid (144). In 1974, a complete list of the composer's works compiled by J. Sachs (Notes XXX) was published. In 1977, a book by J. Sachs (124) was published, dedicated to the concert activity of the famous virtuoso in

England and France from 1825 to 1833. In 1989, a collection of scientific papers was published in Eisenstadt, in which Hummel is presented as a contemporary of the Viennese classics (89, 142). In the early 1990s S.V. Grokhotov’s dissertation appeared (14), which examines the performing arts of I.N. Gummel in the context of his era. We should also mention the article by S.V. Grokhotov (13), in which make an analysis of Hummel's variations on Russian themes.

Thus, there is extensive material that can serve as a basis for further study of Beethoven's piano works in the context of musical criticism and performance trends of his era.

Such a study of Beethoven's piano work also has a practical meaning, because. gives an opportunity for a deeper understanding of the style and a more meaningful approach to the performance of the composer's piano works.

The dissertation can be useful both for performers and music historians, including specialists in the history and theory of piano performance.

Conclusion

Despite the fact that Beethoven's work was often sharply criticized by the composer's contemporaries, it cannot be said that, on the whole, Beethoven's role in the music of the first third of the 19th century was not recognized. In 1824, the London magazine "Harmonicon" gave a general assessment of his work: "Now more than 30 years have passed since the musical world welcomed the first appearance of the genius of the great composer. During this period he tried all types of composition and equally succeeded in all. He showed everything a real musician needs: invention, feeling, spirit, melody, harmony and all kinds of rhythmic art.As always happens, he had to meet strong resistance at first, but the strength and originality of his genius overcame all obstacles.The world was soon convinced of the superiority of his talents , and almost his first experiments were sufficient to establish his reputation on an unshakable basis. - This original genius still towers over his contemporaries, reaching a height to which few dare to strive" (Kunze; 368).

The same opinion was expressed in the same year by a reviewer of the Leipzig AmZ. According to the critic, "this genius created a new era. All the requirements of a musical work - inventiveness, intelligence and feeling in melody, harmony and rhythm - are performed by Mr. v[an] B[ethoven] in a new, characteristic manner" (AmZ XXVI ; 213). The reviewer testifies that Beethoven's "new manner" initially provoked a negative reaction from some conservative critics. However, their opinion did not play a big role, which is confirmed by the statements of some of the composer's contemporaries. For example, in 1814 the originality of Beethoven was compared with that of Shakespeare (AmZ XVI; 395). In 1817 a Viennese newspaper called Beethoven "the Orpheus of our time" (Kunze; 326). In the Wiener Zeitung of June 16, 1823, Beethoven was recognized as "the great living representative of true art" (Thayer. Chronologische Verzeichnis.; 151). In 1824, a critic of a Leipzig newspaper (as well as a reviewer of the "Wiener Zeitung") called the composer a "musical Jean-Paul", and compared his work with a "wonderful landscaped garden"(AmZ XXVI; 214).

E.T.A. Hoffmann played an important role in promoting Beethoven's work. His ideas, made as early as 1810, were picked up in subsequent years by other critics. In 1823, the Berlin "Zeitung fur Theater und Musik" called Beethoven the only "genius [.] in instrumental composition among our contemporaries after Haydn and Mozart" (Kunze; 376). In 1829, a Leipzig reviewer called Beethoven "an amazing romantic" of symphonic music (AmZ XXXI; 49).

The most advanced contemporaries of Beethoven immediately appreciated the importance of his works for subsequent eras: "As soon as a few of his creations were published, they created glory for themselves forever. And today this original mind has no equal among his contemporaries" (AmZ XXVI; 215) . Many of Beethoven's works immediately received unconditional critical acclaim. Among them are sonatas op.13 and op.27 No. 2, Third Concerto op.37, variations op.34, op.35 and 32 variations W0O8O and other works.

In the already recognized works of Beethoven, reviewers find new merits. For example, the critic of the Berlin newspaper A.O. in 1826 compares the theme of the finale of the Sonata op.53 with "a drop of dew on a fresh rose, which reflects a small world. Delicate evening marshmallows blow on it and threaten to cover it with kisses. It probably lengthens, but thereby only flows out more abundantly and each once again filled up, even when it falls out" (Kunze; 48).

After Beethoven's death, interest in the composer's early works increased markedly and a tendency appeared to analyze them from the point of view of the evolution of his style. Frankfurt "Allgemeine Musikzeitung" for 1827-1828. testifies that "since the time Beethoven passed away, more attention has been paid to his works than before. They even turn to his first works in order to trace the course of his musical formation and see how he gradually became a great master" (Kunze; 15).

In a review of the new edition of the three trios op. 1, which appeared in a Leipzig newspaper for 1829, the critic notes in the style of early compositions the combination of Mozart's traditions with the features of the mature Beethoven's style. They "still serenely, lightly and frivolously reflect the early youth of the master. However, at times (and, moreover, how wonderful!) The author is seized by a later deep seriousness, even despite the fact that you recognize examples of Mozart's piano quartets. Nevertheless, Beethoven's originality and independence, undoubtedly, highlight and radiate flickering, incendiary sparks around" (AmZ XXXI; 86).

Yet at this time, many of Beethoven's contemporaries were still unable to understand the evolution of his work. 1827 A.B. Marx, announcing a new edition of three piano trios op.1, wrote that "not everyone was able to follow him along new paths at a later time. still dares to blaspheme his incomprehensible works, not daring to honestly admit his inability" (Kunze; 14).

In the 1830s Beethoven's piano sonatas are gaining great popularity. In 1831, T. Gaslinger released a new edition of the sonatas, which included 14 works (including three sonatinas from the Bonn period). The most popular sonatas op.13, 26, 27 No. 2 and 31 No. 2 (AmZ XXXIII; 31). In the same year, the magazine "Cacilia" announced the release of the edition of the scores of five piano concertos by Beethoven, which, according to the reviewer, "can only be met with joy" (Cacilia XIX, 1837; 124).

Beethoven's piano work was a powerful impetus to the development of the performing arts. It had a huge impact on the piano music of his era. Study of the major works of Cramer and Hummel. shows that Beethoven's influence was manifested in many ways: thinking, dramaturgy, figurative side, thematics, harmonic language, texture and piano technique. But the works of Beethoven's outstanding contemporaries, which critics put on the level of his compositions (in particular, Kramer), could not survive their time. Beethoven's work in all subsequent epochs not only has not lost its significance, but also arouses ever deeper interest due to the richness of the imagination and fiery impulses of fantasy, i.e. precisely because of those qualities for which he was criticized by his contemporaries and for the absence of which the authoritative composers of his era were encouraged.

Beethoven's piano work was ahead of its time and was not fully understood by his contemporaries (especially later works). But Beethoven's achievements were continued in the works of the greatest composers of the subsequent, romantic era.

Further ways of studying Beethoven's work in historical terms are possible. This approach can be applied not only to piano music, but also to works of other genres: symphonic music, chamber ensembles without the participation of the piano, and vocal compositions. Another direction of research may be related to the expansion of the study of piano music of the late 18th - first third of the 19th century. An interesting aspect is the influence of the work of Y.L. Dusik and M. Clementi on early works Beethoven. Connections between the works of Beethoven and his students (K. Czerny, F. Ries, I. Moscheles) can be established. It is also possible to study the influence of Beethoven on romantic composers.

The possibilities for studying Beethoven's work in a historical context are inexhaustible. Ways of study can lead to unexpected conclusions and give a new look at the work of the great composer.

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