Beethoven Sonata No 27 Essay

This share is highly laughable for Beethoven Sonatas. One, although it was indite at the start of his late period, this sonata had only twain tendencys, the initiatory being extremely short. Secondly, this was the first that Beethoven started writing his pace markings in German, as though implying that this Sonata was more personal. Beethoven has as well as remarked on this piece that he considered titling it either Struggle Between Head and oculus or Conversation with the Be erotic shake up outd. This sonata was dedicated to Count Moritz von Lichnowsky and so describes the love affair he was having at the time. Beethoven literally gave the Count this sonata with the words, This Sonata describes your love life.The first consummation of the sonata has an extremely short development, and a surprise coda. The indorse movement is much longer, much analogous a Schubert sonata and has another surprising ending of a small epilogue. In fact, Schuberts first sonata (unfinishe d) second movement, shows a distinct likeliness to this pieces second movement. It would virtually get holdm like Schuberts first sonata was a tribute to Beethoven. compose in 1814, there is a 5 year gap from his stretch out sonata. He gives exact instructions for his tempo markings because, as he said, I am deaf, and I can no longer play the piano. Therefore, I must give exact instructions to the performer. In fact, he became so particular, that he started notating exactly where his dynamic changes are, leaving almost no room for the performer for adjustments.Listening to a lecture recital by Andrea Schiff, he has remarked that Sonata no. 27 is one of the most mysterious of the 32 sonatas. This sonata was written deliberately not to please his audience. He wrote it to promote discussion among medicament lovers and pianists. This sonata wasnt heretofore written to be performed on stage. Both movements of this piece end lightly, written subito piano and no retardando could be seen. The piece ends restfully and the audience is barely aware the piece has even ended. This sonata is not meant to make an impression. Andrea Schiff has even gone so far to say that, Ideally, we wouldnt even incur an applause at the end of this piece, there is nothing to esteem Furthermore, the sonata later, No. 28 (in A Major), sounds like a continuation of the 2nd movement.I will be doing a structural analysis of the Sonata, however, I will to a fault be adding about commentary on whatever aspects I find more interesting. Starting from the beginning of the first movement, we fool the exposition and the first foot. Already here in the first eighter bars we can see the conflict between the head and boldness, like this movement is so aptly nicknamed. In m. 8-16, we see some use of syncopation, indicating that the movement should be counted in one and not terzetto in the time signature. In the first 24 measures, ending with the fermata on a rest, we see clearly the back bone of the whole sonata.In the coterminous section starting with an open b octave, we see the composer has marked in tempo and pp. Beethoven really marks ein truththing for the performer, leaving little to brain on how exactly he wants it performed. In m. 55, where we have a very mortifying left hand broken chords, I would like to organise out that the base line for these seemingly randomly spaced chords is real the anastrophe of the original depicted object at the beginning of the piece.The second movement starts at m. 82 on a single b. At m. 109, we have a sudden reminiscence of polyphonic texture much like what Bach would have written. Starting in m. 113, just when the counter smirch ends, we see that the theme has migrated to the tenor line in the left hand, leaving the even out hand free to improvise over. We modulate at m. 130 and in m. 136 there is an echo of the first theme. Just when we think that it sounds somehow familiar, the brushup suddenly appears at m.144. There is a little coda at m. 231 and the first movement ends quietly with no retardando marked. It is assumed that the performer moves forthwith to the 2nd movement. The opening theme in the rondo is something that the performer becomes familiar with very quickly, because it is repeated in the entire movement no slight than sixteen times.In contrast to the fighting between the head and heart in the first movement, this movement is nicknamed, Conversation with the Beloved. This theme is so unlike Beethoven that it has almost a Schubert-like quality to it. I would also like to note that the opening theme of the second movement is an inversion of the first theme in the first movement. The epilogue at m. 286 quietly ends the piece, just slipping away. No one notices that it has ended until the surprising closeness occupies the space. There is no retardando written and the dynamic marking is pp.I would also like to do a Golden Mean analysis with the first movement, the second movement , and the entire work.Movement one 145m x .618 = 89.61 Movement two 290m x .618 = 179.22 Whole work 535m x..618 = 330.63 or 185.63 in the 2nd movementIn movement one, the midpoint falls a few measures after the development, where the theme is being repeated in the surprising key of a minor(ip). This is right before we crescendo up to a climax at m. 92. In movement two, the midpoint falls onto another a minor chord. This measure is right before we transition to another choral in the key of B Major. The midpoint of the entire piece falls on an unassuming measure in the middle of the first theme of the second movement.As for the most important parts of the entire work, I would point out the interesting inversions scattered across the board. First would be the awkward broken chords at m. 55 in the first movement that I have mentioned before. And then again right before the recapitulation when the theme is echoed over the keys. Then again at the little coda at m. 231. As for the second movement, the whole theme is the inverted first theme of the first movement.