Beethoven Op.81a Piano Sonata No.26 Farewell Adieux 貝多芬 奏嗚曲 第26號 告別 ベートーヴェン ソナタ Score Sheet 樂譜【Kero】

【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Piano Sonata No.26 Op.81a in E flat major
貝多芬 鋼琴 奏嗚曲 第26號 作品81a 降E大調 告別
贝多芬 钢琴 奏呜曲 第26号 作品81a 降E大调 告別
Beethoven Sonata para piano n.º 26 en mi bemol mayor Op.81a Les Adieux
ベートーヴェン ピアノソナタ第26番 変ホ長調
Classical music Música clásica クラッシック 古典音樂 古典音乐
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00:00 I Das Lebewohl: Adagio
02:12 Allegro
07:07 II Abwesenheit: Andante espressivo
10:16 III Das Wiedersehen: Vivacissimamente

《降E大調第26鋼琴奏鳴曲》，作品81a，別稱《告別奏鳴曲》，是路德維希·范·貝多芬於1809至1810年間創作的鋼琴奏鳴曲。
「告別」暗示了這部作品的標題音樂性質。1809年，拿破崙率領的法國軍隊進攻維也納，迫使貝多芬的資助人魯道夫大公逃離該城。貝多芬因此寫下該曲，並為三個樂章命名為「告別」「不在」和「重逢」。1811年該曲發表時，題獻為「在殿下出發時，為敬愛的魯道夫大公所作」。
告別奏鳴曲是連接貝多芬中期和晚期作品的橋梁，這其後的作品中，貝多芬更多地表現出深沉而非激烈的情感。因為要表現出樂曲中承載的深情，告別奏鳴曲也被認為是貝多芬的鋼琴奏鳴曲中最難演奏的曲目之一。而最後一個樂章的演奏也具有一定技術上的挑戰性。

Ludwig van Beethoven's Piano Sonata No. 26 in E♭ major, Op. 81a, known as Les Adieux ("The Farewell"), was written during the years 1809 and 1810.
The title Les Adieux implies a programmatic nature. The French attack on Vienna, led by Napoléon Bonaparte in 1809, forced Beethoven's patron, Archduke Rudolph, to leave the city. Yet, there is some uncertainty about this nature of the piece — or at least, about the degree to which Beethoven wished this programmatic nature should be known. He titled the three movements "Lebewohl", "Abwesenheit", and "Wiedersehen" ('farewell', 'absence', and 'reunion'), and reportedly regarded the French "Adieux" (said to whole assemblies or cities) as a poor translation of the feeling of the German "Lebewohl" (said heartfully to a single person). Indeed, Beethoven wrote the syllables "Le-be-wohl" over the first three chords.
On the first 1811 publication, a dedication was added reading "On the departure of his Imperial Highness, for the Archduke Rudolph in admiration".
An average performance of the piece lasts about 17 minutes. The sonata is one of Beethoven's most challenging sonatas because of the mature emotions that must be conveyed throughout as well as the technical difficulties involved. It is also the bridge between his middle period and his later period and is considered the third great sonata of the middle period.

The three movements of Les Adieux were originally written in German and French, and the last two movements are described in German because of the unusual tempo.

I. Das Lebewohl (Les Adieux – The Farewell)
The sonata opens in a 2/4 time Adagio with a short, simple motif of three chords, at first forming an interrupted cadence, over which are written the three syllables Le-be-wohl ("Fare-thee-well"). This motif is the basis upon which both the first and the second subject groups are drawn. As soon as the introduction is over and the exposition begins, the time signature changes to (alla breve) and the score is marked Allegro.
The first movement oscillates between a turbulent first subject which portrays deep disturbance and a second subject which is more lyrical in nature and gives the impression of reflections. The rhythmic figure of two short notes and a longer note which is used repeatedly in the first subject is developed inexorably through the "development" section with rich harmonies and discords which are harmonically closer to the later period of Beethoven's compositions than the middle for their intellectual penetration.
The movement has a surprisingly long coda which occupies over a quarter of the movement's length. The coda encompasses both the subjects in a display of powerful mastery over composition. Typically the movement played with the expected repeats lasts a little over 7 minutes.

II. Abwesenheit (L'Absence – The Absence)
The Andante espressivo is harmonically built on variations of the diminished chord and the appoggiatura. The movement is very emotional and is often played with rubato that would be found in later composers such as Robert Schumann and Johannes Brahms. Much of the subject matter is rhythmically repeated consecutively as well as sectionally, perhaps to emphasise the feelings of uncomfortable solitude and fear of no return. The arrival of the dominant seventh chord at the end of movement signals the return to the tonic key, but remains unresolved until the triumphant appearance of the main theme in the final movement (which begins attacca). Typically the movement lasts just under 4 minutes.

III. Das Wiedersehen(Le Retour – The Return)
The finale, also in sonata form, starts joyfully on a B♭ dominant 7th chord, in 68 time. After the startling introduction, the first subject shows up in the right hand and is immediately transferred to the left hand, which is repeated twice with an elaboration of the arrangement in the right hand. Before the second subject group arrives, there is one remarkable bridge passage, introducing a phrase that goes from G♭ major to F major chords, first through distinctive forte arpeggios, then in a more delicate, fine piano arrangement.