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I.
Vivace ma non troppo-Adagio espressivo
II. Prestissimo III. Gesangvoll, mit innigster Empfindung - Var. 1 Molto espressivo - Var. 2 Leggiermente - Var. 3 Allegro vivace - Var. 4 Etwas langsamer als das Thema - Var. 5 Allegro ma non troppo - Var. 6 Tempo I del tema, Cantabile Beethoven's last three sonatas opp. 109, 110, and 111 mark a new stage in his sonata writing. Look back to the sonatas written before op. 109, Beethoven had had a tendency to expand the structure and length of the sonata form since he wrote his early sonatas op. 2 (1793-1795). Instead of developing two simple themes or subjects in his sonata form, he usually employed at least two groups of subject materials. In the first movement of his 'Appassionata' sonata op. 57, 1804-1805, he even wrote a quasi-independent coda section; the material he introduced there characterized the climax of the ending. In the 'Hammerklavier' op. 106 (1817-1818), he extensively expanded the structure and material-richness of the sonata form; he also developed a fugue extensively as a long sonata movement. However, in the following sonata, op. 109 (1820), length, structural expansion, and Beethoven's characteristic or technical grandeur were no longer the aims. It is subtle expression, intimate voice, depth and occasional moderate simplicity of melodic line that dominates the music in a much more condensed but thoroughly composed format. There has been a presumption that the first movement of op. 109 was originally an independent piece Beethoven wrote for Kapellmeister Friedrich Starke as part of his Klavierschule. This might explain the unusual structure of the movement which has two alternating separate fantasia-like themes: one is Vivace ma non troppo, and the other is Adagio espressivo. Yet, since the whole sonata consists of three unusual movements with a fantasia-like movement, a fast second movement, and a theme-and-variation-like final movement, it might be more appropriate to suggest that Beethoven's writing of piano sonatas was reaching a new stage. The last three commissioned sonatas opp. 109, 110, and 111 share similarities that belong particularly to these works. For instance, each sonata has its own structural and musical character which is beyond traditional formats; in order to accommodate his complex musical ideas and materials, Beethoven either shifted between fast and slow sections, or blurred connections between sections. The significance of these sonatas to Beethoven was not less than that of the opus 106 which is the only one known today as the Hammerklavier sonata. In fact, Beethoven wrote to his publisher Adolph Schlesinger that he would like 'Sonate für das Hammerklavier' to be indicated on the title page of opus 109, but Schlesinger did not follow Beethoven's wish. It is surprising that so many corrections appear in Beethoven's autograph in op. 109. Obviously, it took Beethoven some time to present his intention clearly. His deleting of the word attacca at the end of the first movement is a good example. It shows that Beethoven considered that even a minute detail could affect the precision of his intention. He indicates a pedalling which lasts from the final two bars of the first movement to the first note of the second movement. This indicates that there is no silence between the two movements. However, with the word attacca, there could have been the suggestion of a quick connection between the two movements; without the word attacca, there is less likelihood that a pianist will connect the two movements too soon. Perhaps this was also the reason that Beethoven indicated a fermata over the last chord of the first movement. The last movement appears to be a theme and variations, but it goes beyond this. Each variation has a characteristic which contrasts with its preceding and following variations, and, apart from the short break between 4 and 5, the variations are joined fluently to make a thoroughly composed piece. In addition, despite the unusual nature of a theme and variation with its individual character and music in each variation, Beethoven expanded the tension of the music from its simple and lyric opening theme into a complex context of a fugue (Var. 5) and an exciting climax (Var. 6). Yet, at the end of the movement, he recalled the beginning theme and brings the music back to the softer cantabile ending. Once again he is unusually inventive. |