Beethoven Piano Sonata No.30 Op.109 E major 貝多芬 鋼琴 奏嗚曲 第30號 ベートーヴェン ピアノソナタ 第30番 Score Sheet 譜【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Piano Sonata No.30 Op.109 in E major
貝多芬 鋼琴 奏嗚曲 第30號 作品109 E大調
贝多芬 钢琴 奏呜曲 第30号 作品109 E大调
Beethoven Sonata para piano n.º 30 en mi mayor Op. 109
ベートーヴェン ピアノソナタ第30番 ホ長調 作品109
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Beethoven #Piano #Sonata

00:00 I Vivace ma non troppo
Adagio espressivo
03:56 II Prestissimo
06:30 III Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
08:34 Var I
10:28 Var II
12:10 Var III
12:38 Var IV
15:10 Allegro ma non troppo
16:09 Tempo I del tema

E大調第30號鋼琴奏嗚曲，作品編號109，是路德維希·范·貝多芬的鋼琴奏鳴曲，創作於1820年，是他晚期最後三首鋼琴奏鳴曲中的第一首。作品題獻給貝多芬的好友安東妮·布倫塔諾的女兒密斯米蘭·布倫塔諾。過往貝多芬在1812年、密斯米蘭10歲生日時，亦曾將《為鋼琴三重奏而寫的小快板》題獻給她，以作為生日禮物。

全曲演奏時間約為19至22分鐘。


Ludwig van Beethoven's Piano Sonata No. 30 in E major, Op. 109, composed in 1820, is the third-to-last of his piano sonatas. In it, after the huge _Hammerklavier_ Sonata, Op. 106 "Piano Sonata No. 29 (Beethoven)"), Beethoven returns to a smaller scale and a more intimate character. It is dedicated "Dedication (art)") to Maximiliane Brentano, the daughter of Beethoven's long-standing friend Antonie Brentano, for whom Beethoven had already composed the short Piano Trio in B♭ major "Allegretto for Piano Trio, WoO 39 (Beethoven)") WoO 39 in 1812. Musically, the work is characterised by a free and original approach to the traditional sonata form. Its focus is the third movement "Movement (music)"), a set of variations that interpret its theme in a wide variety of individual ways.

Work on Op. 109 can be traced back to early in 1820, even before Beethoven's negotiations with Adolf Schlesinger, the publisher of his last three sonatas. Recent research suggests that Friedrich Starke")  had asked Beethoven for a composition for his piano anthology The Vienna Pianoforte School, and that Beethoven had interrupted work on the _Missa Solemnis_ "Missa Solemnis (Beethoven)"). In the end, though, he offered Starke numbers 7–11 of the Bagatelles, Op. 119 "Bagatelles, Op. 119 (Beethoven)").

A performance lasts about twenty minutes, of which the third movement takes more than half. Overall, the sonata is endowed with abundant melody and interesting, complex harmony.

With regard to Beethoven's late work, and especially to his late piano sonatas "Late piano sonatas (Beethoven)"), Op. 109 is particularly noteworthy for its divergence from the norms of sonata form and for its harmonic and structural innovations.

Opus 109 is one of Beethoven's last three, or six sonatas that are counted among his late works. The different cut-off points arise from the fact that the sonatas from Opus 90 "Piano Sonata No. 27 (Beethoven)") on are varied and contradictory in form and in their predominant musical tendencies. The pianistic means are reduced to leaner, chamber music-like voice leading, as in the first movement of Opus 110 "Piano Sonata No. 31 (Beethoven)"), or dissolved into recitative-like passages, as in the third movement of the same work. These procedures contrast with a heightened virtuosity, a broadening of the form and an increase in overall length, as for example in the Hammerklavier sonata, Op. 106 "Piano Sonata No. 29 (Beethoven)"). In Op. 109, reminiscences of the straightforward style of the early, Haydn-influenced sonatas contrast with harmony that is sometimes harsh, anticipating the music of the 20th century. This gives special importance to the principles of polyphonic variation, as in the second movement of Op. 109, and consequently the use of baroque forms, especially fugue and fugato. Very wide intervals between the outer voices "Part (music)"), a process of breaking the music into ever shorter note values (as in the sixth variation in Op. 109), use of trills "Trill (music)") to resolve the music into layers of sound (the same variation in Op. 109 and again in Op. 111 "Piano Sonata No. 32 (Beethoven)")), arpeggios, ostinati and tremolos gain increased significance.