貝多芬：第31號鋼琴奏鳴曲（作品110）| 理查古德 Beethoven: Piano Sonata No. 31 (Op. 110) | Richard Goode

Beethoven: Piano Sonata No. 31 (Op. 110) | Richard Goode
貝多芬：第31號鋼琴奏鳴曲（作品110）| 理查古德

16,220 views May 16, 2025 #beethoven #pianomusic #pianosonata
Beethoven’s Piano Sonata No. 31 in A-flat Major, Op. 110 has been described as a triumph of the spirit over inner turmoil. This extraordinary sonata was performed by Richard Goode during a piano recital at the Verbier Festival on July 29, 2017.
16,220 觀看 2025年5月16日 #貝多芬 #鋼琴音樂 #鋼琴奏鳴曲
貝多芬的《降A大調第31號鋼琴奏鳴曲》（作品110）被譽為精神戰勝內心騷動的典範。這首非凡的奏鳴曲由理查古德於2017年7月29日在韋爾比耶音樂節的鋼琴獨奏會上演奏。
(00:00) Applause
(00:32) I. Moderato cantabile, molto espressivo
(06:38) II. Scherzo: Allegro molto
(08:50) III. Adagio, ma non troppo
(00:00) 掌聲
(00:32) I. 中庸如歌，充滿激情
(06:38) 二．諧謔曲：快板
(08:50) 三．柔板，我永不停止

Ludwig van Beethoven (1770–1827) was himself a brilliant pianist, and his 32 piano sonatas rank among the most important works in the keyboard repertoire. Like many of his compositions, Beethoven wrote the Piano Sonata No. 31 in A-flat Major, Op. 110 at least in part out of financial necessity. In the spring of 1820, he offered a set of three piano sonatas to the Berlin publisher Adolph Martin Schlesinger and received an advance payment—only to delay delivery repeatedly, due in no small part to serious health issues.
路德維希·凡·貝多芬（1770-1827）本人也是一位才華橫溢的鋼琴家，他的32首鋼琴奏鳴曲躋身鍵盤樂曲庫中最重要的作品之列。與他的許多作品一樣，貝多芬創作《降A大調第31號鋼琴奏鳴曲》（作品110）的部分原因至少是出於經濟困難。 1820年春，他向柏林出版商阿道夫·馬丁·施萊辛格提供了一套三首鋼琴奏鳴曲，並獲得了預付款——但由於嚴重的健康問題，交付一再推遲。
According to the autograph manuscript, Sonata Op. 110 was completed on December 25, 1821, and published shortly thereafter, in 1822.
根據親筆手稿，《奏鳴曲》作品110於1821年12月25日完成，並於此後不久，即1822年出版。

One unusual feature of this sonata is its lack of a dedication. Much speculation has surrounded the possibility that the first movement is a sublime tribute to Josephine Brunsvik (1779–1821), who had died in March of that year. Josephine played a central role in Beethoven’s emotional life: she was his great love, though social conventions of the time prevented their marriage—Beethoven was not of noble birth, and thus considered unsuitable by her aristocratic family.
這首奏鳴曲的一個不同尋常之處是它沒有獻詞。許多人猜測，第一樂章可能是對約瑟芬布倫斯維克（1779-1821）的崇高致敬，她於同年三月去世。約瑟芬在貝多芬的情感生活中扮演著核心角色：她是他的摯愛，儘管當時的社會習俗阻礙了他們的婚姻——貝多芬並非貴族出身，因此她的貴族家庭認為她不合適。

This three-movement sonata is a tour de force of emotional and structural contrasts. It is marked by sudden shifts in tempo, meter, and rhythm; dramatic swells and retreats in dynamics; and frequent use of syncopations and trills. As with all of Beethoven’s late piano sonatas, the heart of the work lies in the final movement, which is also the longest. The variety of tempo and expression markings—some in Italian, some in German—points to the rich complexity of this movement, which unfolds as a vibrant potpourri of Baroque musical forms.
這首三樂章奏鳴曲是情感與結構對比的傑作。它以速度、節拍和韻律的突然轉換；力度的戲劇性起伏；以及頻繁的切分音和顫音為特徵。與貝多芬所有晚期鋼琴奏鳴曲一樣，這部作品的核心在於最終樂章，也是最長的樂章。節奏和表情符號的多樣性——有的用意大利語，有的用德語——凸顯了這一樂章的豐富複雜性，展現出巴洛克音樂形式充滿活力的混合體。

(08:50) Recitative
(10:05) Aria I (Arioso dolente / Klagender Gesang)
(11:54) Fugue I
(14:06) Aria II (Perdendo le forze, dolente / Ermattet klagend)
(16:17) Fugue II (L’istesso tempo della Fuga, poi a poi di nuovo vivente / Das gleiche Zeitmaß der Fuge, nach u. nach sich neu belebend / L’inversione della Fuga / Die Umkehrung der Fuge)
(17:03) Coda
(08:50) 宣敘調
(10:05) 詠嘆調 I（Arioso dolente / Klagender Gesang）
(11:54) 賦格一號
(14:06) Aria II（Perdendo le forze、dolente / Ermattet klagend）
(16:17) 賦格 II（L’istesso tempo della Fuga、poi a poi di nuovo vivente / Das gleiche Zeitmaß der Fuge、nach u. nach sich neu belebend / L’inversione della Fuga / Die Umugeke der Fuga）
(17:03) 尾聲

The individual formal sections of the movement are clearly delineated, and the so-called “vocal” episodes—the recitative and arioso—are strikingly songlike; one can easily imagine them as being sung. Interestingly, despite the intricate sectional structure, the movement can also be understood in simpler terms: as falling into two large halves. In the first half, marked by lamentation and descent, the music gradually sinks into near silence—as if fading away entirely. A pivotal moment, built on G major chords (heard at approximately 15:50), marks the transition. From there, the music begins to ascend, leading to a triumphant conclusion.
樂章的各個正式部分都被清楚地描繪出來，所謂的「聲樂」片段——宣敘調和詠嘆調——都非常像歌曲；人們可以很容易地想像它們正在被歌唱。有趣的是，儘管樂章結構錯綜複雜，但也可以更簡單地理解為分為兩大部分。前半部以哀嘆和下降為標誌，音樂逐漸沉入近乎寂靜的境地——彷彿完全消逝。一個以G大調和弦為基礎的關鍵時刻（大約出現在15:50）標誌著音樂的轉折。從那裡，音樂開始上升，最終走向勝利的結局。

It is no coincidence that scholars believe this final movement of the A-flat major sonata is driven by a poetic idea. Beethoven is thought to have given musical form to the severe illnesses—including jaundice and rheumatic pain—he suffered during the sonata’s composition. Emerging from profound physical and emotional suffering, the spirit ultimately triumphs in this work.
學者認為這首降A大調奏鳴曲的最終樂章源自於一個詩意的理念，絕非巧合。貝多芬被認為將創作這首奏鳴曲期間所遭受的重病——包括黃疸和風濕痛——以音樂的形式呈現出來。在從巨大的身心痛苦中走出來之後，精神最終在這部作品中獲得了勝利。

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