Piano Sonata No. 25 (Beethoven): Difference between revisions

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I. Presto alla tedesca

II. Andante

III. Vivace

Played by Artur Schnabel in 1932

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The Piano Sonata No. 25 in G major, Op. 79, was composed by Ludwig van Beethoven in 1809. It is alternatively titled "Cuckoo" or "Sonatina," and it is notable for its shortness.^[1] A typical performance lasts only about nine minutes.^[2] The work is in three movements: a fast-paced Presto alla tedesca, a slower Andante, and a lively Vivace.

Analysis

It consists of three movements:

Presto alla tedesca
Andante
Vivace

It is one of Beethoven's shortest sonatas with an approximate performance time of only nine minutes, if Beethoven's prescribed repeats are all observed. It is also the shortest of his sonatas with three movements.

I. Presto alla tedesca

The first movement opens forcefully with a three-note motif (G–B–G) heard frequently throughout the movement. The second theme group in D major is based on fast scale and arpeggio passages and leads very swiftly into the forceful codetta. A few hesitant octave notes are played before the exposition repeats. The entire exposition is about 35 seconds long (without the repeat).

The development section dominates this movement, being approximately 60 seconds long. It features frequent modulation as well as themes borrowed and fragmented from the exposition including the opening three note motive which is heard in the form of left-hand crossovers. This motive starts on E major, then moves on to B major seventh and later to C minor followed by G seventh, ending in a strange E♭ major, B♭ seventh combination. The recapitulation snaps the listener back to the home key forcefully with its opening three-note motif, then proceeds to repeat the exposition entirely in the home key.

The development and recapitulation together are enclosed in a second, longer repeat mark.

As a final touch, the coda features the main theme played in G major in the left hand with a treble clef, then the theme again in A minor in the right hand with bass accompaniment, then again with comedic acciaccatura inserted. The recapitulation and coda together take up approximately another minute.

The whole movement with the exposition repeated lasts approximately three minutes. If the second repeat prescribed by Beethoven, encompassing the development and recapitulation, is observed, this brings the total performance time to around four and a half minutes.

II. Andante

The andante movement, in G minor, uses a tranquil theme in ⁹
₈ time, quite uncommon in Beethoven's works, and a gentle, light atmosphere to present contrast to the ecstatic first movement. It is about two and a half minutes long.

III. Vivace

The finale movement is the most playful and the shortest at barely two minutes long. The movement is constructed in rondo form (ABACA′ and a coda), with a two-part theme and contrasting episodes in key (B) and in rhythm (C). A very brief coda brings this quick, lighthearted sonata to a brisk end. Beethoven later uses the chord progression found at the beginning of the A section to start his Sonata No. 30. A comparison of the two pieces gives a dramatic illustration of how Beethoven's piano-writing developed in the 11 years that intervened between the two sonatas. The Op. 109 theme is altogether subtler and subject to dramatic twists that lead the listener into quite unexpected harmonic territory.

References

^ Piano Sonata No. 25, Op. 79 at IMSLP
^ "Sonata no. 25 in G major, op. 79 (Ludwig van Beethoven)". www.pianolibrary.org. Retrieved 2021-03-28.

External links

A lecture by András Schiff on Beethoven's piano sonata Op. 79
For a public domain recording of this sonata visit Musopen
Piano Sonata No. 25: Scores at the International Music Score Library Project
Recording by Paavali Jumppanen, piano from the Isabella Stewart Gardner Museum

[1] Piano Sonata No. 25, Op. 79 at IMSLP

[2] "Sonata no. 25 in G major, op. 79 (Ludwig van Beethoven)". www.pianolibrary.org. Retrieved 2021-03-28.

[1]

[2]

@@ Line 1: / Line 1: @@
+[[File:Beethoven Mähler 1815.jpg|thumb|Beethoven in 1815; painted by [[Joseph Willibrord Mähler]] (1778–1860)]]
-The '''''Piano Sonata No. 25 in [[G major]]''''', Op. 79, was written by [[Ludwig van Beethoven]] in 1809. It consists of three movements:
+{{Listen|filename=Klaviersonate Nr. 25 G-Dur op. 79 - I. Presto alla tedesca.ogg|filename2=Klaviersonate Nr. 25 G-Dur op 79 - II. Andante.ogg|filename3=Klaviersonate Nr. 25 G-Dur op 79 - III. Vivace.ogg|title=I. Presto alla tedesca|title2=II. Andante|title3=III. Vivace|description3=Played by [[Artur Schnabel]] in 1932}}{{short description|Piano sonata written by Beethoven}}
-#''[[Presto (music)|Presto]] alla tedesca''
+{{multiple issues|{{refimprove|date=June 2016}}
-#''[[Andante]]''
+{{Original research|date=August 2015}}}}
-#''[[Vivace]]''
+The '''Piano Sonata No. 25 in [[G major]]''', Op. 79, was composed by [[Ludwig van Beethoven]] in 1809. It is alternatively titled "Cuckoo" or "Sonatina," and it is notable for its shortness.<ref>[http://imslp.org/wiki/Piano_Sonata_No.25,_Op.79_(Beethoven,_Ludwig_van) Piano Sonata No. 25, Op. 79 at IMSLP]</ref> A typical performance lasts only about nine minutes.<ref>{{Cite web|title=Sonata no. 25 in G major, op. 79 (Ludwig van Beethoven)|url=https://www.pianolibrary.org/composers/beethoven/sonata-25-79/#2|access-date=2021-03-28|website=www.pianolibrary.org}}</ref> The work is in three movements: a fast-paced ''Presto alla tedesca'', a slower ''Andante'', and a lively ''Vivace.''
-It is one of Beethoven's shorter sonatas with an approximate performance time of only eleven minutes, if Beethoven's prescribed repeats are all observed. It is also the shortest of his sonatas with more than two movements.
+==Analysis==
-The first [[movement (music)|movement]] opens forcefully with a three-note [[motive (music)|motive]] (G, B, G) heard frequently throughout the movement. The second theme group in [[D major]] is based on fast [[scale (music)|scale]] and [[arpeggio]] passages and leads very swiftly into the forceful [[codetta]]. A few hesitant [[octave]] [[note (music)|notes]] are played before the [[exposition (music)|exposition]] repeats. The entire exposition is but 35 seconds long (without the repeat).
+It consists of three movements:
+{{ordered list|list_style_type=upper-roman
+|''[[Presto (music)|Presto]] alla tedesca''
+|''[[Andante (tempo)|Andante]]''
+|''[[Tempo#Italian tempo markings|Vivace]]''
+}}
+It is one of Beethoven's shortest sonatas with an approximate performance time of only nine minutes, if Beethoven's prescribed repeats are all observed. It is also the shortest of his sonatas with three movements.
+=== I. Presto alla tedesca ===
-The [[musical development|development]] section dominates this movement, being approximately 60 seconds long. It features frequent modulation as well as themes borrowed and fragmented from the exposition including the opening three note motive which is heard in the form of left-hand crossovers. This motive starts on [[E major]], then moves on to B 7th and later moves in [[C minor]] followed by G 7th, ending in almost strange [[E-flat major]], B Flat 7th combination. The [[recapitulation (music)|recapitulation]] snaps the listener back to the home key forcefully with its opening three note motive, then proceeds to repeat the exposition entirely in the home key.
+[[File:Sonata No. 25 1st Movement.png|none|600px]]
+The first [[movement (music)|movement]] opens forcefully with a three-note [[motive (music)|motif]] (G–B–G) heard frequently throughout the movement. The second theme group in [[D major]] is based on fast [[scale (music)|scale]] and [[arpeggio]] passages and leads very swiftly into the forceful [[codetta]]. A few hesitant [[octave]] [[note (music)|notes]] are played before the [[exposition (music)|exposition]] repeats. The entire exposition is about 35 seconds long (without the repeat).
+The [[musical development|development]] section dominates this movement, being approximately 60 seconds long. It features frequent modulation as well as themes borrowed and fragmented from the exposition including the opening three note motive which is heard in the form of left-hand crossovers. This motive starts on [[E major]], then moves on to [[B major]] [[dominant seventh|seventh]] and later to [[C minor]] followed by [[G major|G]] seventh, ending in a strange [[E-flat major|E{{music|b}} major]], [[B-flat major|B{{music|b}}]] seventh combination. The [[recapitulation (music)|recapitulation]] snaps the listener back to the home key forcefully with its opening three-note motif, then proceeds to repeat the exposition entirely in the home key.
 The development and recapitulation together are enclosed in a second, longer repeat mark.
-As a final touch to this sonata, the [[coda (music)|coda]] features the main theme played in G Major in the left hand with [[clef|treble]], then the theme again in [[A minor]] in the right hand with [[bass (music)|bass]] accompaniment, then the same thing again except with comedic [[ornament (music)|acciaccatura]] inserted. The recapitulation and coda together take up approximately another minute.
+As a final touch, the [[coda (music)|coda]] features the main theme played in G major in the left hand with a treble [[clef]], then the theme again in [[A minor]] in the right hand with [[bass (music)|bass]] accompaniment, then again with comedic [[ornament (music)|acciaccatura]] inserted. The recapitulation and coda together take up approximately another minute.
-The whole movement (with the exposition repeated) lasts approximately three minutes.  If the second repeat prescribed by Beethoven, encompassing the development and recapitulation, is observed, this brings the total performance time to around four and a half minutes.
+The whole movement with the exposition repeated lasts approximately three minutes. If the second repeat prescribed by Beethoven, encompassing the development and recapitulation, is observed, this brings the total performance time to around four and a half minutes.
+=== II. Andante ===
-The [[tempo|andante]] movement, in [[G minor]], uses a tranquil theme in 9/8 time (quite uncommon in Beethoven's works) and gentle, light atmosphere to present contrast to the ecstatic first movement. It is about two and a half minutes long.
+[[File:Sonata No. 25 2st Movement.png|none|600px]]
+The [[tempo|andante]] movement, in [[G minor]], uses a tranquil theme in {{music|time|9|8}} time, quite uncommon in Beethoven's works, and a gentle, light atmosphere to present contrast to the ecstatic first movement. It is about two and a half minutes long.
+=== III. Vivace ===
-The finale movement is the most playful sounding as well as being the shortest at barely two minutes long. The movement is constructed in [[rondo| rondo form]] (ABACA' and a Coda), with a two-part theme in parts A and contrasting episodes in key (section B) and in rhythm (section C) in the other sections. A very brief coda brings this quick, light-hearted sonata to a brisk end. Beethoven later uses the chord progression found at the beginning of the A section to start his Op. 109 sonata.  (A comparison of the two pieces gives a dramatic illustration of how Beethoven's piano-writing developed in the 11 years that intervened between the two sonatas.  The Opus 109 theme is altogether subtler and subject to dramatic twists that lead the listener into quite unexpected harmonic territory.)
+[[File:Sonata No. 25 3st Movement.png|none|600px]]
+The finale movement is the most playful and the shortest at barely two minutes long. The movement is constructed in [[rondo| rondo form]] (ABACA′ and a [[Coda (music)|coda]]), with a two-part theme and contrasting episodes in key (B) and in rhythm (C). A very brief coda brings this quick, lighthearted sonata to a brisk end. Beethoven later uses the chord progression found at the beginning of the A section to start his [[Piano Sonata No. 30 (Beethoven)|Sonata No. 30]]. A comparison of the two pieces gives a dramatic illustration of how Beethoven's piano-writing developed in the 11 years that intervened between the two sonatas.  The Op. 109 theme is altogether subtler and subject to dramatic twists that lead the listener into quite unexpected harmonic territory.
+==References==
+{{Reflist}}
 == External links ==
-*[http://download.guardian.co.uk/sys-audio/Arts/Culture/2006/12/05/04_25gmajop79.mp3 A lecture] by [[András Schiff]] on Beethoven's piano sonata op. 79
+*[http://download.guardian.co.uk/sys-audio/Arts/Culture/2006/12/05/04_25gmajop79.mp3 A lecture] by [[András Schiff]] on Beethoven's piano sonata Op. 79
 * For a public domain recording of this sonata visit [http://musopen.com Musopen]
-* {{IMSLP2|id=Piano Sonata No.25, Op.79 (Beethoven, Ludwig van)|cname=Piano Sonata No. 25}}
+* {{IMSLP2|work=Piano Sonata No.25, Op.79 (Beethoven, Ludwig van)|cname=Piano Sonata No. 25}}
+*[http://traffic.libsyn.com/gardnermuseum/beethoven_op79.mp3 Recording by Paavali Jumppanen, piano] from the [[Isabella Stewart Gardner Museum]]
 {{Beethoven piano sonatas}}
+{{Authority control}}
 [[Category:Piano sonatas by Ludwig van Beethoven|Piano Sonata 25]]
 [[Category:1809 compositions]]
+[[Category:Compositions in G major]]
-[[de:Klaviersonate Nr. 25 (Beethoven)]]
-[[es:Sonata para piano n.º 25 (Beethoven)]]
-[[eu:Pianoarentzako 25. sonata (Beethoven)]]
-[[fr:Sonate pour piano nº 25 de Beethoven]]
-[[it:Sonata per pianoforte n. 25 (Beethoven)]]
-[[nl:Pianosonate nr. 25 (Beethoven)]]
-[[ja:ピアノソナタ第25番 (ベートーヴェン)]]
-[[ru:Соната для фортепиано № 25 (Бетховен)]]
-[[uk:Соната для фортепіано № 25 (Бетховен)]]

v t e Piano sonatas by Ludwig van Beethoven
Early sonatas	No. 1 in F minor, Op. 2/1 No. 2 in A major, Op. 2/2 No. 3 in C major, Op. 2/3 No. 4 in E♭ major, Op. 7 (Grand Sonata) No. 5 in C minor, Op. 10/1 No. 6 in F major, Op. 10/2 No. 7 in D major, Op. 10/3 No. 8 in C minor, Op. 13 (Pathétique) No. 9 in E major, Op. 14/1 No. 10 in G major, Op. 14/2 No. 11 in B♭ major, Op. 22 No. 12 in A♭ major, Op. 26 No. 13 in E♭ major, Op. 27/1 No. 14 in C♯ minor, Op. 27/2 (Moonlight) No. 15 in D major, Op. 28 (Pastoral)
Middle sonatas	No. 16 in G major, Op. 31/1 No. 17 in D minor, Op. 31/2 (The Tempest) No. 18 in E♭ major, Op. 31/3 (The Hunt) No. 19 in G minor and No. 20 in G major, Op. 49 No. 21 in C major, Op. 53 (Waldstein) No. 22 in F major, Op. 54 No. 23 in F minor, Op. 57 (Appassionata) No. 24 in F♯ major, Op. 78 (À Thérèse) No. 25 in G major, Op. 79 No. 26 in E♭ major, Op. 81a (Les adieux) No. 27 in E minor, Op. 90
Late sonatas	No. 28 in A major, Op. 101 No. 29 in B♭ major, Op. 106 (Hammerklavier) No. 30 in E major, Op. 109 No. 31 in A♭ major, Op. 110 No. 32 in C minor, Op. 111
Duo	Sonata in D major for piano four-hands, Op. 6
Unnumbered (WoO)	Three Piano Sonatas, WoO 47 Piano Sonata in C major, WoO 51 (fragmentary)
Doubtful (Anh.)	Sonatina in G major, Anh. 5/1 Sonatina in F major, Anh. 5/2
Related works	Andante favori, WoO 57

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Other	MusicBrainz work