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).[1] Indeed, Beethoven wrote the syllables "Le-be-wohl" over the first three chords.[2]
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. The translation in English shown in italic as below:
Das Lebewohl (Les Adieux – The Farewell): Adagio – Allegro (in E♭ major)
Abwesenheit (L'Absence – The Absence): Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck – In walking motion, but with much expression) (in C minor)
Das Wiedersehen (Le Retour – The Return): Vivacissimamente (Im lebhaftesten Zeitmaße – The liveliest time measurements) (in E♭ major)
I. Das LebewohlEdit
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. AbwesenheitEdit
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 WiedersehenEdit
The finale, also in sonata form, starts joyfully on a B♭ dominant 7th chord, in 6 8 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 fortearpeggios, then in a more delicate, fine piano arrangement.
The pianist Frederick Marvin said that Dussek's sonata could "have been a model for the Les Adieux Sonata by Beethoven ten years later." Marvin further points out the similarities in motives and form in Beethoven's sonata to Dussek's.[3]
^Jaynes, Edwin Thompson (1991). The Physical Basis of Music. Unpublished. p. 798. Retrieved 20 July 2015.
^Archambault, Paul (1979). "In the Footsteps of Jan Ladisla ootsteps of Jan Ladislav Dussek: An Inter v Dussek: An Interview by Paul Archambault". Syracuse Scholar. 1 (1).
SourcesEdit
Kolodin, Irving (1975). The Interior Beethoven. New York: Alfred A. Knopf. ISBN978-0-394-46626-2.
External linksEdit
A lecture by András Schiff on Beethoven's piano sonata Op. 81a
Sonate für Klavier (Es-Dur) Op. 81a (www.beethoven-haus-bonn.de)
Sonate Characterisque (Op. 81) Analysis and commentary by Frederic Horace Clark - Music (Volume 15: Nov. 1898 to Apr. 1899) edited by W.S.B. Mathews; published by Music Magazine Publishing Company
October 21, 2023
piano, sonata, beethoven, ludwig, beethoven, piano, sonata, major, known, adieux, farewell, written, during, years, 1809, 1810, this, sonata, influenced, ladislav, dussek, sonata, with, same, nickname, first, bars, piece, indicating, syllables, wohl, over, thr. 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 This sonata was influenced by Jan Ladislav Dussek s sonata with the same nickname First two bars of the piece indicating the syllables Le be wohl over the three note theme here an interrupted cadence I Das Lebewohl source source source II Abwesenheit source source source III Das Wiedersehen source source source Played by Artur Schnabel in 1932 Problems playing these files See media help The title Les Adieux implies a programmatic nature The French attack on Vienna led by Napoleon 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 1 Indeed Beethoven wrote the syllables Le be wohl over the first three chords 2 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 Contents 1 Form 1 1 I Das Lebewohl 1 2 II Abwesenheit 1 3 III Das Wiedersehen 2 Relation to Dussek s Sonata 3 References 4 Sources 5 External linksForm EditThe 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 The translation in English shown in italic as below Das Lebewohl Les Adieux The Farewell Adagio Allegro in E major Abwesenheit L Absence The Absence Andante espressivo In gehender Bewegung doch mit viel Ausdruck In walking motion but with much expression in C minor Das Wiedersehen Le Retour The Return Vivacissimamente Im lebhaftesten Zeitmasse The liveliest time measurements in E major I Das Lebewohl Edit nbsp The sonata opens in a 24 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 nbsp 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 Edit nbsp 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 Edit nbsp 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 Relation to Dussek s Sonata EditIt has been said that this sonata was influenced Dussek s own Les Adieux The pianist Frederick Marvin said that Dussek s sonata could have been a model for the Les Adieux Sonata by Beethoven ten years later Marvin further points out the similarities in motives and form in Beethoven s sonata to Dussek s 3 References Edit Kolodin 1975 Jaynes Edwin Thompson 1991 The Physical Basis of Music Unpublished p 798 Retrieved 20 July 2015 Archambault Paul 1979 In the Footsteps of Jan Ladisla ootsteps of Jan Ladislav Dussek An Inter v Dussek An Interview by Paul Archambault Syracuse Scholar 1 1 Sources EditKolodin Irving 1975 The Interior Beethoven New York Alfred A Knopf ISBN 978 0 394 46626 2 External links EditA lecture by Andras Schiff on Beethoven s piano sonata Op 81a Piano Sonata No 26 Scores at the International Music Score Library Project Piano sonata no 26 in E major op 81a interactive score on Verovio Humdrum Viewer Recording by Paavali Jumppanen piano from the Isabella Stewart Gardner MuseumArticlesSonate fur Klavier Es Dur Op 81a www beethoven haus bonn de Sonate Characterisque Op 81 Analysis and commentary by Frederic Horace Clark Music Volume 15 Nov 1898 to Apr 1899 edited by W S B Mathews published by Music Magazine Publishing Company Retrieved from https en wikipedia org w index php title Piano Sonata No 26 Beethoven amp oldid 1160937178, wikipedia, wiki, book, books, library,
