Beethoven Piano Sonata No.32 Op.111 C minor 貝多芬 鋼琴 奏嗚曲 第32號 ベートーヴェン ピアノソナタ 第32番 Score Sheet 譜【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Piano Sonata No.32 Op.111 in C minor
貝多芬 鋼琴 奏嗚曲 第32號 作品111 C小調
贝多芬 钢琴 奏呜曲 第32号 作品111 C小调
Beethoven Sonata para piano n.º 32 en do menor Op. 111
ベートーヴェン ピアノソナタ 第32番 作品111 ハ短調
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Beethoven #Piano #Sonata

00:00 I Maestoso – Allegro con brio ed appassionato
09:43 II Arietta: Adagio molto semplice e cantabile

c小調第32號鋼琴奏嗚曲，作品編號111，是貝多芬的鋼琴奏鳴曲，創作於1821-22年，是他晚期最後三首鋼琴奏鳴曲中的第三首，亦是他一生中最後一首完成的鋼琴奏鳴曲。作品題獻給魯道夫大公，他既是貝多芬的學生，也是他的朋友和贊助人。

這首鋼琴奏嗚曲包含了賦格的元素，同時也採用了很多被應認為是早期浪漫主義音樂的素材，對及後浪漫時期的音樂發展作出了指標性的作用。全曲只有兩個樂章，而第二樂章則與同時期的第30號奏鳴曲一樣，是由主題和變奏所組成的變奏曲，貝多芬稱之為「小詠嘆調」（arietta）。對貝多芬音樂甚有認識的諾貝爾文學獎得主湯瑪斯·曼表示，這首奏鳴曲是貝多芬真正與奏鳴曲式說再見的代表作。

這首奏鳴曲並不如第30號或第31號奏鳴曲般，很快便受到了聽眾的注視，要一直至十九世紀後期時才開始被聽眾接受。

The Piano Sonata No. 32 in C minor, Op. 111, is the last of Ludwig van Beethoven's piano sonatas. The work was written between 1821 and 1822. Like other late period sonatas, it contains fugal elements. It was dedicated to his friend, pupil, and patron, Archduke Rudolf.

The sonata consists of only two contrasting movements. The second movement is marked as an _arietta_ with variations. Thomas Mann called it "farewell to the sonata form". The work entered the repertoire of leading pianists only in the second half of the 19th century. Rhythmically visionary and technically demanding, it is one of the most discussed of Beethoven's works.

The work is in two highly contrasting movements.
Typical performances take 7–10 minutes for the first movement, and 15–20 minutes for the second, though the range of timings is wide. There are a few recordings that take more than 20 minutes for the second movement, e.g. Barenboim (21 minutes), Afanassiev (22 minutes) and Ugorski (27 minutes).

I. Maestoso – Allegro con brio ed appassionato

Duration of roughly 7–11 minutes.

The first movement, like many other works by Beethoven in C minor, is stormy and impassioned—the tempo markings may be translated, respectively, as "majestic" and "brisk, with vigor and passion". It abounds in diminished seventh chords, as in for instance the first full bar of its opening introduction, which may have provided the inspiration for the introduction of Chopin's Second Piano Sonata.


Unlike Beethoven's other C minor sonata-form movements, the exposition of this movement moves to the submediant (A♭ major), not to the mediant, as its second key area. The quiet second theme bears a resemblance to the second theme in the final movement of the fourteenth piano sonata, made even more explicit in the recapitulation where this theme is restated ominously in the bass in minor mode, after initially appearing in C major. Overall, the first movement contains motivic similarities with Mozart's Adagio and Fugue in C minor, which Beethoven arranged for a string quartet (Hess 37).

The A♭ major closing theme of the exposition, based on the first motif of the first theme, initiates a chromatic descent to its dominant with the motif A♭–C–G – and the same motif appears in the theme's restatement in the recapitulation, this time at the culmination of the chromatic descent instead of at the beginning. This moment is also prepared by the inclusion of the minor-mode inflected flattened sixth (F♭) at the corresponding point in the exposition's closing theme.

In a move that mirrors the Piano Sonata, Op. 49 No. 1 "Piano Sonatas Nos. 19 and 20 (Beethoven)"), and the Cello Sonata, Op. 5 No. 2 "Cello Sonatas Nos. 1 and 2 (Beethoven)"), Beethoven ends this movement with a Picardy third that directly prepares the major-mode finale.

II. Arietta: Adagio molto semplice e cantabile

Duration of roughly 14–30 minutes.
The final movement, in C major, is a set of five variations on a 16-bar theme in 9/16, with a final coda . The last two variations (Var. 4 and 5) are famous for introducing small notes which constantly divide the bar into 27 beats, which is very uncommon. Beethoven eventually introduces a trill which gives the impression of a further acceleration. The tempo marking may be translated "slowly, very simple and songlike."

The work is one of the most famous compositions of the composer's "late period" and is widely performed and recorded. The pianist Robert Taub has called it "a work of unmatched drama and transcendence ... the triumph of order over chaos, of optimism over anguish. John Lill sees Beethoven's struggle that permeates the first movement as physically challenging pianists performing this work; even in the opening of the sonata, for instance, there is a downward leap of a seventh in the left hand – Beethoven is making his pianists physically struggle to reach the notes. Alfred Brendel commented of the second movement that "what is to be expressed here is distilled experience" and "perhaps nowhere else in piano literature does mystical experience feel so immediately close at hand".