Beethoven Piano Sonata No.22 Op.54 F major 貝多芬 鋼琴 奏嗚曲 第22號 ベートーヴェン ピアノソナタ第22番 Score Sheet 譜 乐谱【Kero】

【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Piano Sonata No.22 Op.54 in F major
貝多芬 鋼琴 奏嗚曲 第22號 作品54 F大調
贝多芬 钢琴 奏呜曲 第22号 作品54 F大调
Beethoven Sonata para piano n.º 22 en fa mayor Op.54
ベートーヴェン ピアノソナタ第22番 ヘ長調
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Beethoven #Piano #Sonata

00:00 I. In tempo d'un menuetto
05:59 II. Allegretto
10:58 Più allegro

F大調第22號鋼琴奏嗚曲，作品編號54，是貝多芬的鋼琴奏鳴曲，創作於1804年，現存最早的草稿可以追逆至1804年的五、六月，並於1806年4月出版。由於這首奏鳴曲剛好在貝多芬中期兩首較具代表性的奏鳴曲「華爾斯坦」及「熱情」中間，因此往往被一些鋼琴演奏家所忽視，認為它欠缺了「華爾斯坦」或「熱情」的那份氣勢，不過音樂學者大都認為這奏鳴曲仍然有其獨特之處，旋侓上亦有吸引的段落；而在創作手法上，這奏鳴曲的兩個樂章均沒有採用奏鳴曲式寫成，而第一樂章採用了迴旋曲方式開始，同樣在此之前的所有其他鋼琴奏鳴曲也未曾試過。
本曲並沒有任何題獻，如完全按照樂譜的指示及重覆彈奏，演奏時間大約需時11至12分鐘。

Ludwig van Beethoven's Piano Sonata No. 22 in F major, Op. 54, was written in 1804. It is contemporary to the first sketches of the Symphony No. 5 in C Minor. It is one of Beethoven's lesser known sonatas, overshadowed by its widely known neighbours, the Waldstein and the Appassionata.

The sonata consists of just two movements.
I. In tempo d'un menuetto
Beethoven skips the opening and slow movements and moves on to a minuet in 3/4 time, with a modulating trio. Anton Kuerti refers to this piece as a parody of uncreative composers, while Andras Schiff refers to it as portraying "Beauty and the Beast." The first theme is written in a rigidly classical style with repetitive phrases that are a caricature of elegance, while the second consists of a bombastic canon in octaves. The movement gradually increases in activity when it garners variations for its main theme. This first movement is in ABABA form where A and B are strongly contrasted themes. Theme A is of minuet dance type in F major that one might find in Joseph Haydn. In contrast, theme B, the trio, is a succession of forte triplets in C major that are played by both hands staccato or legato; the triplets are in octaves (and later in sixths) and with a dialogue between the left and right hands and with many sforzandi to interrupt the meter. The A section repeats in a whole, with a slight variation. Then the B, the trio section, reappears, this time in the tonic key of F major and of considerably shorter length. The opening A theme reappears with more ornaments. After an extended group of trills, there is a brief coda.

II. Allegretto — Più allegro
The finale, again in F major, is a cheerful moto perpetuo sonata form movement in 24 time with a monothematic exposition. "If the first movement was constipated, then the second movement suffers from the opposite ailment." (Anton Kuerti) This is shown in the piece, as the main melody has a non-stop continuous, sixteenth-note pattern that does not stop for even a second in this piece. The exposition, contains only one brief theme as it is written above. It starts on F major and modulates to C major, which is the key that ends the exposition. The development is long and extended. It starts on A major and modulates to many different keys, as it passes through a great climax and ends in the tonic key, when the retransition is heard and the development section ends. The recapitulation starts in the tonic like the exposition. However, instead of being in F major and C major, this time the theme modulates through more keys and is more extended. The recapitulation ends in F minor, the parallel minor of the tonic, in which bouncy but suspenseful syncopated notes are heard between both hands. The piece becomes more agitated in the faster coda, in F major, keeping a forward motion till the end.