Ludwig new wave Beethoven, whose calling and music is the best influences of the serious alterations in the old ages around 1800. As Kinderman claimed that “ He was cognizant of Enlightenment ideals ; absorbed the music of Haydn and Mozart ; observed the Gallic Revolution from a distance ; idealized and so was disillusioned by Napoleon ; and lived his last twelve old ages under political repression. In his young person, he was forced to discontinue executing because of hearing loss and became the first instrumentalist to do a life about entirely through composing ( 1997: 83 ) .
For the Sonata in F child, Opus 2, no. 1, the music of Haydn and Mozart helped to organize and gave a basic thought to Beethoven ‘s model of sonatas. And it happened at the clip when, those two names were celebrated. Therefore, the quinine water and dominant chords of the key are frequently used in this sonata. But Beethoven neither imitates them nor copied them. In his music, the audiences are able to hear his ain characters via his music.
As Dahlhaus ( 1997 ) commented, “ Of class he did larn from Haydn and Mozart. ” ( p. 89 ) But Beethoven composed like Beethoven. Indeed, the Beethoven of the Waldstein is a wholly different individual from the 1 who wrote the First Piano Sonata, which was dedicated to Joseph Haydn, from the 1 who wrote the Waldstein.
“ The Exposition of a sonata signifier presents the thematic stuff and articulates the motion from tonic to dominant in assorted ways so that it takes on the character of a polarisation or resistance ” ( Rosen, 1980, p. 229 ) .
Normally, the opening subject of the classical pieces defines the key ; that is why most opening subjects make heavy usage of the three notes of the tonic three. The gap subjects of the classical period are frequently more halfway and more emphasize used on the quinine water three than the other periods such as Baroque or Romantic. Nevertheless, these can be seen through Piano Sonata Opus 2, No. 1 and Piano Sonata Opus 53 by Ludwig new wave Beethoven. The gap of both these pieces uses the quinine water of its place key.
From the entire step figure in chapter two and chapter three[ 1 ], the first subject of Sonata Op. 53 last longer than Sonata Op. 2, and the construction of continuance from both pieces besides have their differences. As the same harmoniousness patterned advances that have besides been used for these two pieces. Meanwhile, as the analysis, Sonata Op. 53 used more heavy bass and busy notes compare with the Sonata Op. 2. These pieces clearly show the different periods Beethoven has been through from 1795 to 1803/04. When he started to composed music, everything was easy and he followed the ordinances of classical sonata, but after traveling through all the catastrophes and gained experiences of life, his manner of composing Sonata Opus 53 changed. He did non even follow the ordinances harmonic patterned advance of the sonata signifier.
The definition of passage is in another term means transition. For the passage portion in an expounding, transition is a readying for the 2nd subject ; it is here that could happen one of the most radical facets of the sonata manner. The development of a new key on a new subject which opposed to the first subject builds a relation of disagreement. As Rosen ( 1980 ) further explained that,
“ The dissonant harmonic values implicated in the thematic stuff have no longer a simple expressive intent, but serves to fix the transition. It is because passage is maps as the linking episode with the first subject and 2nd subject ” ( p. 244 ) .
As the analysis in chapter two, passage of Sonata Op. 2 uses a new key in which the new key in the 2nd subject is Ab major ( comparative major of F child ) . Therefore, the music sounds fluid and connected when the 2nd subject begins. In the contrary, passage of Sonata Op. 53 uses a chromatic transition as a span to link the first subject and 2nd subject of the sonata. It merely took four steps to finish this undertaking. Meanwhile, the Sonata Op. 2 used about 12 steps to finish its passage. It shows the two different characters in two different periods ; in classical, it needs some clip to fade out the jobs while in the early romantic, it straights off achieves the end which Beethoven wishes to accomplish.
The difference of the 2nd subject is the keys that have been used and the tunes. Sonata Op. 2 used the comparative major-Ab major, as the chief harmonic patterned advance for the 2nd subject, while Sonata Op. 53 used the distant key-E major, as the chief harmoniousness. One sonata follows the classical regulations and the other does non. For the regulations in the classical period, the harmonic patterned advance within a motion should non be modulated excessively far off from the place key. But in this instance, Sonata Op. 53 already broke the regulations. Beethoven used a distant key, he dared to seek and interrupt it. Hence, he becomes a innovator of romantic composer.
The tunes of Sonata Op. 2 uses a melodious interval-dominant minor 7th chord as the top voice, while Sonata Op. 53 uses a chorale-like tune as the basic thought in 2nd subject. However, a similarity can be found in these two sonatas ; Beethoven used the basic thought of the 2nd subject and imitated it in the bass portion of the shutting subdivision[ 2 ]. This is one of Beethoven ‘s characters ; he likes to utilize the call-response on both custodies, whether it was the right manus tune copying the left manus tune or the left manus tune copying the right manus tune. As the consequence, Beethoven composed like Beethoven.
The development shows the cardinal subdivision of a sonata and a series of techniques altering or assorted transmutation of thematic. As Rosen explained that,
“ The techniques of thematic transmutation are atomization, distortion, usage of subjects or fragments in an imitative contrapuntual texture, heterotaxy and agreement in a quickly modulating sequence. The texture created is by and large characterized by periods shorter than in the gap of the expounding and may even incorporate broken or irregular sets of periods ; the harmonic gesture is of course faster than that of the more stable subdivisions ” ( 1980: 262 ) .
Besides that, there is a twosome of ground that causes the construction of improvisation of Beethoven. As the audiences listened to the music, they could hear that the development portion of Sonata Opus 53 is more interesting and sounds brighter or more positive than Sonata Opus 2, No. 1. From the book of Elliot Forbes, it is written that December 18th, 1795 is the day of the month of Ludwig performed in Haydn ‘s concert. Because of the ill-famed reputes of Ludwig and because of the doubtless occupied with the last corrections of the Sonata, Op. 2, dedicated to Haydn, his music is so greyly. Hence, the development portion of Sonata Opus 2, No.1 used a batch of minor chords to stand for the doubtless, unhappiness and unhappy manners of Beethoven.
In contrary, the development portion of Sonata Opus 53 sounds happier than Sonata Opus 2, No.1 as they listened. It is because of the reputes, respects and wealth that Ludwig has gained in his ulterior clip, and the assurance that he has built up through his public presentations, publishes, and learning within a few old ages clip. These triumphs and victories that can be seen through the missive by himself,
So that you may now at least cognize where I am and what I am making I must necessitate write you. In the first topographic point I am acquiring on good – really good. My art wins for me friends and regard ; what more do I desire? This clip, excessively, I shall gain considerable money. I shall stay here a few hebdomads more so travel to Dresden, Leipig and Berlin. It will likely be six hebdomads more before I shall return – I hope that you will be more and more pleased with your visit in Vienna ; but beware of the whole club of wicked adult females. Have you yet called on Cousin Elss? You might compose to me at this topographic point if you have disposition and clip.
P. Linowski will likely shortly return to Vienna ; he has already gone from here. If you need money you may travel to him boldly, for he still owes me some. For the remainder I hope that your life will turn continually in felicity and to that terminal I hope to lend something. Farewell dear brother and believe on occasion of
Your true faithful brother L. Beethoven.
Greetings to Brother Caspar. My reference is the Golden Unicorn on the Kleinseite.
Table 6. Letter from Ludwig Beethoven to his brother Nikolaus Beethoven. Adapted from “ The old ages 1796 and 1797, ” by Elliot Forbes, 1964, Thayer ‘s Life of Beethoven. , p. 182. Copyright 1949 by Princeton University Press, Princeton, New Jersey.
As a consequence, the life experiences have its ain power to act upon the composing of a composer. That is a world and fact that people can ne’er deny.
In the book entitled Thayer ‘s Life of Beethoven, the alleged Fischoff manuscript has a narrative of Beethoven ‘s unsafe unwellness, which was happened by the summer of the twelvemonth 1796.
“ In the twelvemonth 1796, Beethoven, on a hot summer twenty-four hours, came back greatly overheated to his place, threw unfastened doors and Windowss, disrobed down to his pants and cooled himself in a bill of exchange at the unfastened window. The effect was a unsafe unwellness, which, on his recuperation, settled in his variety meats of hearing, and from this clip on his deafness steadily increased. ” ( Forbes, 1964 )
Through this scenery, music theoretician really can calculate out the ground Beethoven kept utilizing an unusual key altering in development portion of Sonata Opus 53. In the deepness of his bosom, he is fighting and felt suffering in his life ; as a instrumentalist, losing his hearing is the most awful thing in his life. However, through the encouragement of his friends around him, he trusted the fire of the visible radiation in his life ; he believed that he will acquire good shortly and can populate the life which he wants to populate. Thus, in his music, the chord patterned advance that have been used, -major and minor chords, are so fantastic. Although the piece sounds sad, but somehow it still has a hope inside his music merely as the development portion of Sonata Op. 53.
Furthermore, as the chart below, it shows the alone character of a innovator in his music which the continuance of declaration chords to tonic is so much different in the early work comparison with the ulterior work ;
Chart 1, comparing of the declaration continuance of both Sonatas,
It uses 28 steps to decide the chord to tonic in the early work, Sonata opus 2. While Sonata opus 53 utilizations 50 steps to decide the chord to tonic.
However, the sound is so consonant and fluid, although in theory, some theoreticians may non accept these sorts of composing, but in world, a innovator of Romantic composer appear as he steps out the really first measure to interrupt out the ordinance of the authoritative composing. Beethoven, through his music, released the load of the authoritative ordinance. And after these, the composers of romantic period have followed his foot-print and composed their ain music harmonizing their feeling and emotion.
In this research, the development portion has been divided into three subdivisions excessively ; there is the first subject, 2nd subject and passage. The mode to split the first subject and 2nd subject is harmonizing to the fragment of the basic thought in expounding. As in Sonata Op. 53, from step 90 to 110 is the first subject, because it uses the fragment of the first chief subject of expounding. From step 111 to 141 is the 2nd subject, because it uses the fragment of the 2nd subject of the expounding which is three as the tune. Hence, it explains more clearly to the reader about the building of the development portion. The participant and reader can easy understand the construction of the signifier. It is the same state of affairs for the Sonata Op. 2, no. 1.
Through table 3[ 3 ]and table 5[ 4 ], it is obvious that the development of Sonata Op. 53 last much longer than Sonata Op. 2, no. 1. And the transition of Sonata Op. 53 is more complicated than Sonata Op. 2. Therefore, the decision of transition in Sonata Op. 2, no. 1 can be reviewed as the tabular array below,
Table 7, decision of transition of Sonata in degree Fahrenheit child, Opus 2, no. 1,
f – Ab – c – BB – Ab – degree Fahrenheit
From the harmoniousness patterned advance above, the place key started in F child and modulates to its comparative major, Ab major. Then it passes through the key of C child and Bb child as the rider of the key and returns back to the key of Ab major, so at the terminal, at the place key f minor once more. It is really interesting that a circle of the theory has been found in this sonata. It proves the glare of Beethoven in the classical period ; the endowments to utilize the harmonic patterned advance in his composing.
In contrary, Sonata Op. 53 is non able to make this sort of decision because it has excessively many unstable keys altering from one subdivision to another subdivision. It shows a whole trade name new thought of harmonic patterned advance in the sonata ; it does non follow the authoritative ordinances but it follows the desire of composer.
However, the passage of both these sonatas in the development portion uses the same method to convey the whole construction to return back to the palingenesis ; it emphasizes on the dominant chord of the place key. In Sonata Op. 2, Beethoven uses a dominant note, C to take the music back to palingenesis in place key of f childs. While, in Sonata Op. 53, Beethoven uses a dominant chord, G to take the music back to palingenesis in place key of C Major.
In the sonata there is a reinterpretation of the form of the expounding, a restate of the expounding of the sonata but with a different cardinal signature.
“ What must be emphasized foremost of all is that the signifier of the palingenesis is determined as much by the development subdivision by the expounding on which it is more evidently based. The greater the dramatic tenseness created by the development, the more luxuriant the steps taken in the palingenesis to decide that tenseness. The palingenesis may, to this terminal, continue the thematic development while deciding the harmonic tensenesss. ” ( Rosen, 1980, p. 284 ) .
The palingenesis must be started with the first subject, as in a normal sonata motion, but the 2nd subject which uses another version of the first subject. As Sly claims that,
“ The first and 2nd topics should be closely related in such a manner is possibly non recognized in traditional theory ; and yet a stopping point, organic relationship I am certain is ever to be found. Often, such an organic correspondence makes itself known more clearly in a palingenesis ; this is so portion of the map of a palingenesis: merely to uncover such secrets! ( 2001: 123 )
The palingenesis of Sonata Op. 2 is rather similar with its expounding ; it is merely somewhat different with the terminal of the shutting subdivision, seven steps to add on as the stoping of the whole motion. In add-on, the key that has been used in palingenesis is different with the expounding portion ; whole subdivision last in F minor key including the first subject and 2nd subject. In contrary, the construction of palingenesis of Sonata Op. 53 is rather similar with its expounding excessively, but the key that has been used in passage and 2nd subject is different with the expounding portion ; E major has been used in passage and A major ( another distant key ) has been used in 2nd subject.
The differences of these two sonatas are the stoping portion of the sonata ; Sonata Op. 53 has a finale subdivision while Sonata Op. 2 does non hold one.
The map of finale is to round off a motion by reiterating subjects or developing the piece farther. However, it ever ends in the tonic key ( Kamien, 2008, p. 208 ) . As Kamien explained,
“ The signifier moves from a stable state of affairs toward struggle which is in the expounding portion, to rise tenseness which is development subdivision, and so back to stableness and declaration of struggle ” ( p. 208 ) .
The following tabular array shows an lineation of a first motion of a sonata,
Table 8. A motion in sonata. Adapted from “ The Classical Time period, ” by R. Kamien, 2008, Music: An Appreciation, 9th ed. , p. 208. Copyright 2008, 2004, 2000, 1996, 1988, 1984, 1980, 1976, by The McGraw-Hill Companies, Inc.
Meanwhile, the finale is a mark of dissatisfaction of composer with the signifier. As Rosen ( 1980 ) claims that, “ a declaration in each single instance that the symmetricalness is unequal to the demands of the stuff, that the simple correspondence has become restraining ” ( p. 297 ) .
The finale subdivision of Sonata Op. 53 is a mark of Beethoven does non desire to be defeated by his fate ; he does n’t desire to stop his life in hearing loss and at the terminal, he still wants to contend for his fate. As a consequence, the Sonata Op. 53 is sound longer than the classical sonata, Sonata Op. 2. However, the basic chief subjects in expounding which is the first chief subject and chorale-like tune is still used in this subdivision.
At the terminal of the sonata, Beethoven used back the first subject of the sonata as the decision of the first motion of Sonata Op. 53. It shows that Beethoven ne’er forgets his beginning.
4.2 Performance Techniques
Table 9, Timeline of Revolution and alteration from 1790 to 1830. Adapted from “ Revolution and Change, ” by J. Peter Burkholder, Donald J. Grout and Claude V. Palisca, 2006, A History of Western Music, 7th ed. , p. 570. Copyright 2006, 2001, 1996, 1988, 1973, 1960 by W.W. Norton & A ; Company, Inc.
Revolution and Change
1790 – 1800
Gallic Revolution Begins
Joseph Haydn, first London Symphonies
Gallic Republic declared, King Louis XVI executed
Franz II becomes Holy Roman Emperor
Ludwig new wave Beethoven arrives in Vienna
Eli Whitney invents cotton gin
Reign of Panic
Beethoven, Sonata Pathetique
Haydn, The Creation
1800 – 1810
Beethoven writes the Heiligenstadt Testament
Beethoven, Eroica Symphony
Bonaparte crowns himself Emperor Napoleon I
Holy Roman Empire dissolved, Franz continues as emperor of Austria
Beethoven given life-time rente
1810 – 1820
Napoleon defeated, exiled to Elba
Congress of Vienna
1820 – 1830
Beethoven, tardily threading fours
Music is an look tool for worlds. A music composing can be written out by homo to show their feeling. But the emotion of a human is caused by the environment of which they are populating in ; the phenomena, events and human relationships cause human to voice out their feeling. Some of the ways to convey one ‘s idea are through articles, where one writes out on paper ; picture, which is composing it out on the paper ; picture, which is pulling it out on the study tablet ; and through music, where are sings out or dramas utilizing instruments. Hence, the grounds to do all the looks become one of the chief resources while a music theoretician analyzes the pieces. And the tabular array above is a concise manner to understand the background period of the universe when Beethoven lived in his state. The revolution of the state and construct thought of human being during that period caused a innovator instrumentalist to be born from the classical period-Ludwig new wave Beethoven ; he wanted to alter something to follow the alterations that were go oning in the universe. Therefore, when a piano player plays his pieces, he should conceive of and understand the feeling of Beethoven.
From history, in the late of eighteenth century, instrumentalists worked chiefly for tribunals, metropoliss, and churches but they besides made money by learning, executing, and composing for publication. In Beethoven ‘s period, popularity with the public became more of import, the most successful composers wrote music that pleased everyone. Hence, Beethoven ‘s music pleased public Black Marias ; that is the ground for the repute of Beethoven. He expressed himself through music, and this is the thirst of public ; they want their right, regard, equalities and personalities, neither the dreams of the male monarch nor the wealthy of aristocracies ( Wonder, 1976 ) .
In the nineteenth century, the Industrial Revolution transformed the economic system. It conveying people from the rural country to the metropoliss and making a society based on mass production and equality position. The consequence was a big and influential in the in-between category, who saw transmutations in musical life every bit good. Peoples afford to purchase pianos and music tonss for place music. The treatment of vocals and piano pieces is promoting among the people themselves. The audience for music and opera companies expanded in this period. Hence, in 19th century, instrumentalists worked for the populace ( Kristine & A ; Joseph, 2007 ) .
Beethoven was a student of Joseph Haydn and he was protected by Count Waldstein, whose household connexions were close that he could present his favourite into the highest circles ( Forbes, 1964, p. 160 ) . Around 1803, Beethoven began to compose in a new, more ambitious and originative manner that marked a grade able point in his calling ( Burkholder, Grout & A ; Palisca, 2006, p. 576 ) . He was free to take this measure because of his repute, the support of frequenters and publishing houses, and the troubles created by his turning loss of hearing.
While his position, fiscal place, and compositional methods made it possible for Beethoven to steps out in new waies, it was seemingly a psychological crisis that made it necessary. In 1802, he realized that the hearing loss he had noticed for some clip was lasting and would merely acquire worse. A deaf instrumentalist was every bit impossible as a unsighted painter. In desperation, Beethoven considered stoping his life by himself, but he did non make it for the interest of his art. He played in public less and less but kept on composition ( Wonder, 1976 ) .
4.2.3 History of Beethoven ‘s Piano
The music of Beethoven demands full sound and expressive scope than the old instrumentalists.
“ After admiting Beethoven ‘s remarkably perceptive apprehension of the piano shown in the authorship and public presentation waies, a really good instrument is required if one wants a certain satisfaction in executing many of his pieces ” ( Rosenblum, 1991, p. 52 ) .
As Rosenblum book province out, in Beethoven ‘s missive, Beethoven ‘s remarks and repeated communications to Streicher, who was his piano shaper about his dissatisfaction with the piano from the start because of its heavy action of the key, which the continuance of the rebounding of the cardinal took a long clip to complete. By the clip Beethoven received the Broadwood, a figure of his plants needed soprano notes beyond its keyboard scope, but its action is heavier and may repair his appetency. However, because of his unwellness, it prevented him to appreciate its particular tonic qualities. He enjoyed the award of the gift from Streicher but subsequently stated that it did non accomplish what was he expected. And this instrument is now in the Kunsthistorisches Museum, Vienna, and the National Musuem, Budapest ( 1991: 51 ) . It is proved that the desires of Beethoven which he wishes to show more about his music on the piano, unluckily, the piano during that period of clip was non able to carry through his desires. Hence, while a piano player plays his pieces, he or she should stands in the places of Beethoven excessively.
“ Reflecting these alterations in building of the piano, the tone quality became progressively heavy and longer-lasting, characteristic that in bend enhanced legato playing and the “ vocalizing ” sound. Therefore, the instruments of different sizes for which Beethoven composed besides differed in other facets that may hold been more of import than keyboard compass itself: those of tone and touch ” ( Rosenblum, 1991, p. 53 ) .
As the consequence, while a performer performs the piece from two different periods such as Sonata in F child, opus 2, no. 1 and Sonata in C major, opus 53, the tone colour of music and touch on the piano should be different. It is because of the instrument that was used during that period is much more different from today.
4.2.4 Methods of Performance
A “ public presentation ” may be defined as all the activity of a given participant on a given juncture which serves to act upon in any manner of the other participants ( Goffman, 1959, p. 15 ) . For illustration, when a piano player drama on the piano or a performer performs a repertory and he has to conceive of that he himself is the composer and convey the composer ‘s music to the audiences, and act upon the audiences ‘ idea to construe the music. In the other custodies, as the survey from Schechner,
“ To execute ” can besides be understood in relation to being, to making, and to demo making. Every action from the smallest to the most encompassing is made of twice-behaved behaviours. Twice-behaved behaviours is besides known as restored behaviour, which means physical, verbal, or practical actions that are not-for-the-first clip ; that are prepared or rehearsed. A individual may non be cognizant that she is executing a strip of restored behaviour ( 2007, p. 29 ) .
Merely as a piano player, before his or her public presentation, he will maintain practicing and practising for his public presentation on the phase and maintain imagine he himself is person else such as a celebrated piano player, so he might be able to avoid from the illness of phase afraid when he is executing.
Furthermore, public presentations are made from different little portion of every individual restored behaviour, but every public presentation is different from every other. First, fixed spots of behaviour can be recombined in eternal fluctuations. Second, no event can precisely copy another event ( Schechner, 2007, p. 30 ) . Just as a piano player performs the same piece of piano sonata but in different states, although it has been performed so many times, the actions when he plays and to convey the music are different each clip, and the responses of audiences besides different in every state every bit good.
However, a public presentation takes topographic point as action, interaction, and relation. Performance is n’t “ in ” anything, but “ between ” ( Schechner, 2007, p. 30 ) . When a piano player performs a piece, he is in liminal phase ; the state of affairs which he wishes to be himself but he could non make it, he has to conceive of that he himself is the composer and convey his ain music. This is where the public presentation “ between ” happened in this state of affairs ( Schechner, 2007, p. 30 ) .
Restored behaviour is “ out at that place ” , separate from “ me ” . In another term, restored behaviour is “ me acting as if I were person else ” ( Schechner, 2007, p. 30 ) . Restored behaviour besides can be “ me ” at another clip or “ me ” base in a topographic point for the interest of moving. For an illustration, a female parent is stating a bed clip narrative to her kids with the assortment sort of sound. Therefore, every performing artist applies this public presentation theory while they are executing in forepart of the populace.
4.3 Playing on the first motion of Sonata in degree Fahrenheit child, Op. 2, no. 1.
For the first note of the beginning of this piece is a challenges of playing by itself ; it falls on the weak round and there is no articulation taging on it, neither disconnected nor smooth. But because it is the first note of the piece, it should be played in more weight to allow the audience know that the music is begun. And the tone colour which will be made by the piano player, it should be considered the quality of the piano that was used during that period every bit good. The quality of the piano did non map every bit good as the pianos in this century.
In the first subject, there is an increases arpeggio of F minor chord with P, and every clip it resolves by a bend at the terminal in the 2nd motivation. The first six steps play from soft to really loud which is the flood tide in step 7, and so fall back to soft by step 8. The first stage stoping on the dominant of F minor key and it hangs with a fermata over the remainder. Then it get downing in the comparative major of the piece which Ab major on the low registry additions arpeggio.
The 2nd subject of this sonata ( step 20 ) has to play in legato, particularly the right manus tune, while the note of Eb in left manus should played as the concomitant which can non be played louder than the top voice. The passing note Fb drama in sforzando strong round and it gives an instable feeling in this harmonic context, it sounds minor tone in Ab major. Start from step 26 onward, it is easy mounting up and acquiring louder toward the flood tide of the expounding in step 33. Then it resolves down by a graduated table with the chief tune in left manus.
The terminal of the expounding begins with the con espressione marker. The Cb note of full lessened seventh of chord V emphasized the chord V of Ab major. And so resolves to tonic at the terminal on step 48 with a sound of P.
In the development subdivision, it begins with a P excessively. The tone colour should be played out as it played in expounding subdivision. But, addition of tenseness in the touch should show it out with the pedaling. It will let the strength and tenseness of the bass line concomitant to predominate. Then it helps the key chord changed from one key to another. At the terminal it returns back to the place key of F child in step 77.
In step 93, there is a pp required to play, because this is a passage or span where connected the development to the palingenesis. Within these six steps, left manus chords should be played in equal and leads the changing chords to the quinine water in step 101. And the remainder of the steps in palingenesis subdivision should be applied the playing technique as the expounding subdivision. However, in step 147, the remainders prepare an unstable harmoniousness temper to the audience. The extension of the phrase makes the music more intense at the terminal. As to play the chords, a light pedaling should be added on each chord, so it will sound stateliness at the terminal of the first motion of this sonata.
However, reader can future look into the technique on public presentation of the Sonata in F child, Opus 2, no. 1 from Taub ‘s book ( 2009 ) , pages 100 to 102.
4.4 Playing on the first motion of Sonata in C Major, Op. 53.
For the first note C in the bass can non be over emphasized as it marks a pp as its dynamic degree. The bass chords play a chief function in this piece, because it keeps altering the cardinal although in the tone colour country, that is non easy to recognize that it modulates every four steps. After the fermata on the dominant chord in step 13, the first subject of the piece begins.
The left manus line moves upward an octave while the right manus plays the tune in in-between C country. And it is spread outing toward B major in step 23 with the crescendo. While in step 23, it has to play in soft sound although a series of running notes appeared until the passage of the piece. However, in the thick of the step, crescendo and sf marker are required to play out and leads the piece on toward to the passage.
Because of the dominant chord of E major, it helps set up the smooth passage to the 2nd subject of this sonata. The marker of the beginning of the 2nd subject grade as dolce vitamin E molto legato, it required a voicing chord of the top note. Both custodies should play in a smooth manner. When the subject changed to threes ‘ tune in the right manus, the left manus chords become the melodious ground tackle. It is the same manner to play in the shutting subdivision as good.
In the development subdivision, the left manus leads the alterations of the chromatic harmoniousnesss while the right manus plays the fragments of the chief motivations in diverse harmonic scenes. The dynamic and the emotion of look of the piece should play it harmonizing to the medium of the harmoniousnesss. In the step 142, the protraction begins with the low registry G with the dynamic pp degree. It brings a feeling of outlook and with the edifice up of right manus tune ; it successful leads the transition up to the flood tide of the development subdivision in step 154. Then it resolves down to the quinine water once more through a contrary gesture graduated table of C major.
At the beginning of the finale, the repeated of chief subject are played. And the new motivation and beat have been introduced in this subdivision. It lasts until the fermatas in step 282 and 283, for the music is to take the whole transition return to the C major place key. At the terminal, the repeat of chief subject begins in step 295 with a pacing marker. The left manus chord should be sustained the bass and take the music to the low G in step 299 where the ff taging appeared as the pre-ending of the transition. The concluding chords are crisp staccato, pedal should be used for each chord to heighten the sound.
Besides that, reader can future look into the technique on public presentation of the Sonata in C major, Opus 53 from Taub ‘s book ( 2009 ) , pages 111 to 114.