Beethoven Cello sonata전곡

  Beethoven

(1770-1827) 

 

 

Cello sonatas

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• Opus 5: Two Cello Sonatas (1796)
• Cello Sonatas No. 1 and No. 2 (Opus 5) were written by Ludwig van Beethoven in 1796, while he was in Berlin. While there, Beethoven met the King of Prussia Friedrich Wilhelm II, an ardent music-lover and keen cellist. Although the sonatas are dedicated to Friedrich Wilhelm II, Ferdinand Ries tells us that Beethoven "played several times at the court, where he also played the two cello sonatas, opus 5, composed for Duport (the King's first cellist) and himself". Although Jean-Pierre Duport was one of the King's teachers, it is now thought to have been his brother
• Jean-Louis Duport who had the honor of premiering these sonatas.

   

• In the early 19th century, sonatas for piano and instrument were usually advertised as piano sonatas with instrumental accompaniment. Beethoven's first violin sonatas, for instance, were published as "sonatas for piano with accompaniment by the violin."^[1] The cello sonata was especially so plagued, as it grew out of sonatas for continuo; as late as the beginning of the 19th century it was still common for the cello in cello sonatas to double the left hand of the piano part, with the piano right hand playing obbligato figurations and melodies. Beethoven, indeed, is credited with composing one of the first cello sonatas with a written-out piano part.^[1]

  Both of these sonatas are in two movements, with an extended Adagio introduction preceding

• the opening Allegro of both of them. The movements are entitled as follows:

•  

1. No. 1: Cello Sonata No. 1 in F major
• 1.Adagio sostenuto – Allegro
  2.Rondo. Allegro vivace

Performance of this piece takes approximately 25 minutes

 

No. 2: Cello Sonata No. 2 in G minor

1. 1.Adagio sostenuto e espressivo – Allegro molto più tosto presto (ends in major).
   2.Rondo. Allegro (in G major)
2. Performance of this piece takes approximately 25 minutes.
   
3. Opus 69: Cello Sonata No. 3 in A major (1808)

Ludwig van Beethoven's Cello Sonata No. 3 in A major, Op. 69 was written in 1808,

Beethoven's first compositional period. Composed in the same year were the two piano trios of

Op. 70 and the Choral Fantasy; in the same year Beethoven also completed and published his Fifth and Sixth Symphonies.

 The sonata was dedicated to Baron Ignaz von Gleichenstein and first performed in March 1809 by cellist Nikolaus Kraft and pianist Dorothea von Ertmann.

 

Beethoven composed five sonatas for cello and piano over his lifetime;

Steven Isserlis described his third sonata as the first cello sonata in history to give equally

important parts to both of the instruments.

 

The work consists of three movements:

1. Allegro ma non tanto
2. Scherzo. Allegro molto (in A minor)
3. Adagio cantabile – Allegro vivace.

The first movement opens with the cello alone; variations of its expansive main theme and a pair of contrasting secondary ideas give much cause to contrapuntal and melodic interplay between the two players.

The scherzo which follows, in the tonic minor (i.e. A minor), prominently features off-beat accents; the trio in the major is heard twice as in many of Beethoven's later scherzos.

The briskly-paced finale is preceded by a short slow introduction.

 

Opus 102: Two Cello Sonatas (1815) 

The Sonatas for cello and piano No. 4 in C major, Op. 102, No. 1, and No. 5 in D major, Op. 102, No. 2, by Ludwig van Beethoven were composed simultaneously in 1815 and published in 1817 with a dedication to the Countess Marie von Erdődy (de), a close friend and confidante of Beethoven's.

 

The sonatas were composed between the end of 1812 and 1817, during which time Beethoven, ailing and overcome by all sorts of difficulties, experienced a period of literal and figurative silence as his deafness became overwhelmingly profound and his productivity diminished. Following seven years after the A Major Sonata No. 3, the complexity of their composition and their visionary character marks (with the immediately preceding piano sonata Op 101) the start of Beethoven’s `third period’.

 

The critics of the time, often perplexed by Beethoven’s last compositions, described the sonatas in terms such as the following from the Allgemeine musikalische Zeitung:^[1]

They elicit the most unexpected and unusual reactions, not only by their form but by the use of the piano as well…We have never been able to warm up to the two sonatas; but these compositions are perhaps a necessary link in the chain of Beethoven's works in order to lead us there where the steady hand of the maestro wanted to lead us.

 

Although played less often than Sonata No. 3, Sonatas Nos. 4 and 5 are now essential elements in the basic repertory of works for cello and piano.

• No. 1: Cello Sonata No. 4 in C major

• This sonata consists of two movements:

  1. Andante – Allegro vivace
  2. Adagio – Tempo d'andante – Allegro vivace

   

• This short, almost enigmatic work demonstrates in concentrated form how Beethoven was becoming ready to challenge and even subvert the sonata structures he inherited from composers such as Haydn and Mozart.

•  

  Its overall structure is possibly unique in Beethoven's works, comprising just a pair of fast sonata-form movements, each with a slow introduction.

  Both movements recall the long-established convention of a slow introduction to a brisk main section in sonata form, but with significant modifications.

•  

  In the first movement the introductory portion entirely lacks the portentiousness of a conventional slow introduction, consisting of a brief elegiac theme repeated several times without change of key and largely unvaried; it concludes with an elaborate cadence in C major that is then contradicted by the sonata portion being in the relative minor, largely avoiding the key of C major except at the opening of the development.

•  

  The second movement opens more in the manner of a traditional slow introduction, and eventually leads to a sonata-form portion in the 'correct' key of C. However before this point is reached, the opening material of the sonata reappears for a final, almost ecstatic variation; a procedure paralleled elsewhere in Beethoven's work only in the drama of the fifth and ninth symphonies.

• No. 2: Cello Sonata No. 5 in D major

• This sonata consists of three movements:

  1. Allegro con brio
  2. Adagio con molto sentimento d'affetto – Attacca
  3. Allegro – Allegro fugato

  While this sonata is more accessible and conventionally structured, the concluding fugue prefigures the fugal finales of the Hammerklavier Sonata and the late string quartets