Beethoven Piano Sonata No.16 Op.31 No.1 31-1 貝多芬 第16號 鋼琴 奏鳴曲 ベートーヴェン ピアノソナタ 第16番 Score Sheet 譜【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Piano Sonata No.16 Op.31 No.1 in G major
貝多芬 第16號 鋼琴 奏鳴曲 作品31-1 G大調
贝多芬 第16号 钢琴 奏鸣曲 作品31-1 G大调
Beethoven Sonata para piano n.º 16 en sol mayor Op. 31-1
ベートーヴェン ピアノソナタ 第16番 ト長調 作品31-1
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Beethoven #Sonata #Piano

00:00 I Allegro vivace
04:58 II Moderato grazioso
15:17 III Allegretto

G大調第16號鋼琴奏鳴曲，作品編號31之1，是貝多芬的鋼琴奏鳴曲，於1802夏天完成，本曲與同作品編號的第17號及第18號為同時期作品，但起筆時間都比其餘兩首遲，最終三首作品於1805年被輯在一起同時出版。編號上，本曲稱為第1號，但完成時間卻比第2號（即第17首）為晚。

Ludwig van Beethoven's Piano Sonata No. 16 in G major, Op. 31, No. 1, was composed between 1801 and 1802. Although it was numbered as the first piece in the trio of piano sonatas which were published as Opus 31 in 1803, Beethoven actually finished it after the Op. 31 No. 2, the Tempest Sonata.
Due to his dissatisfaction with the classical style of music, Beethoven pledged to take a new path of musical composition and style. The Opus 31 works are the first examples of Beethoven's new and unconventional ideas, an attempt to make a name for himself in the annals of music history. For example, the first movement, unlike most sonata allegro forms in which the second theme of the exposition is dominant, the second theme is in B major and B minor, the mediant of the original key. Beethoven would later continue to use the mediant and submediant as expositional goals for major-key sonata-form movements, such as the first movements of the Waldstein and Hammerklavier sonatas, the Archduke trio, the triple concerto and the thirteenth string quartet, as well as the finale to the seventh symphony. It is important to take into account that these pieces were written after the famous Heiligenstadt Testament of 1802.
This sonata is light, breezy and has touches of humour and irony in its movements. Critics say that the Opus 31 works show now a more pronounced "Beethovenian" sense of style that will become more evident in later, mature works.
The sonata consists of three movements. A typical performance lasts about 20 minutes.

Allegro vivace
The first movement begins in an animated fashion. The humorous main theme is littered with brisk, semiquaver passages, and chords written in a stuttering fashion, suggesting that the hands are unable to play in unison with one another. The second subject in the exposition alternates between B major and B minor; this tendency to alternate between keys became typical later in Beethoven's career.

Adagio grazioso
With long, drawn out trills and reflective pauses, the second movement in C major is the more sentimental movement. Apart from the Hammerklavier Sonata's Adagio and the 32nd sonata's second movement, this is the longest slow movement of Beethoven in the piano sonatas (around 11 minutes). According to many great pianists (e.g. Edwin Fischer and András Schiff), this movement is a parody of Italian opera and Beethoven's contemporaries, who were much more popular than Beethoven at the beginning of the 19th century. Schiff explained this theory in his master class of this sonata; he said it is totally uncharacteristic of Beethoven because it is not economical, it is incredibly long, everything is too much ornamented, it is filled with "show-off cadenzas (...) who are trying to make a cheap effect" and bel canto-like elements and rhythms (on them Schiff said "it's very beautiful, but it's alien to Beethoven's nature").

Rondo
The last movement is similar in character to the first movement: light, enthusiastic, and youthful. Here, a single simple theme is varied, ornamented, syncopated, modulated throughout the piece. After a brief Adagio section, the piece ends with a Presto coda.