Beethoven piano sonata에 對한 小考 = Some Thoughts on Beethoven Sonatas
저자
鄭貞植 (음악대학)
발행기관
학술지명
권호사항
발행연도
1966
작성언어
Korean
KDC
051
자료형태
학술저널
수록면
107-118(12쪽)
제공처
소장기관
Man, by the existence of himself, alone can move not only the five senses but also that sixth sense of others, and thus reflect himself in them as well as receive their responses.
It is a known fact that when one wishes to express himself by means of art, he can reveal both a part of his tangible self as well as his intangible self, depending upon the methods he applies. The language we use can be one, as was described by the famous writer Goethe, that stretches form its limited area deep into a world of unlimited universe unseen by our eyes.
At the same time as Goethe was living, there lived another famous man by the name of Beethoven who lived in the same land, but he expressed himself from a different angle, that is by weaving each tone into a depth of spiritual ecstasy. Through certain technical processes and steps he showed his growth, maturity and the extent of his own world, as well as its techniques. Such development can be seen in many of his works.
I would like to base my study on his complete piano sonatas, which were once referred to by Bulow as "The New Testament of piano Art". Instead of giving an analytical study of each phrase of the sonatas, I shall touch upon the overall aspect of all the compositions in view of their nature. I shall mention the chronological background, the social pattern those to whom the composer dedicated his works.
Music first attracted Beethoven when he was only 4 years old. He began his piano study with his father who was a singer. In 1778, at the age of eight, Beethoven made his first public appearance in a piano performance at koln. In 1781, the child prodigy became known by many artists when he gave a second performance in Holland.
He began to study composing in 1779, under Ch. G. Neefe, and in 1782 when Beethoven was only 12, he started composing piano sonatas. This continued until 1823, four years prior to his death, at which time Beethoven composed 6 piano sonatines and 32 sonatas.
In order that Beethoven should gain new technique, Ch. G. Neefe let Beethoven practice Bach's well-tempered clavichord. In 1783 he composed 3 sonatas in C major, G major and F major. It was said these works were dedicated to an Archibishop of koln and to Maximilian Friederich, the kurfursten of koln. The C major sonata was dedicated to Miss Eleonore de Brcuning. Those compositions were based on simple basic styles of harmony, arrangements and keys.
There are two unfinished works. The two sonatas of G. major and F. Major probably composed in 1785, seemed to have been dedicated to Jean Aug. Bohme of Hamburg.
In 1770, Beethoven left his childhood home of Bonn for further study in vienna, the renowned city of music now as well as it was then. Under the influence of Mozart in his style of his composition, and through studies under Hayden, and other celebrated teachers such as J. schnek, J. G Albreehtsberger and A. saliec etc., Beethoven developed his musical technique and method necessary to interprete completely what he felt.
Soon Beethoven began to insert more of his personal character into fixed forms of style, and thereby was able to sketch more of his own growing self both internally and externally. Finally his growth was such that he surpassed all human limits and arrived at a religious culmination.
Many of his earlier works including his first sonatine op 2, reveal the style that might well be referred to as very much like that of Mozart, rather than a style of his own. However, one can still detect certain accents that are typical of Beethoven's that appear now and then. Many of his works showed traces of his attempt to try many different styles and forms. In all phases of composing techniques, his skill developed step by step and attained eventually a wide varietie of free styles and forms, wherein Beethoven revealed a characteristic style of his own. The music was evidently growing into a new dimension. One can note the wide range of difference between the piano compositions that demonstrated highly technical skills, and those that are very sweet, warm and simple in technique.
Although Beethoven used Sonata forms in many of his sonata compositions, there are Sonatas that include none of the usual sonata forms in any of the movements. The styles and forms are so diverse it is hard to find uniformity in his works.
As the result of his deep search for the inner emotions and passions of human beings, Beethoven stepped beyond the limit of God's creation into a matured stage of God's unlimited universe. And here, with the accumulated wealth of his knowledge and experience he composed a masterpiece that included all of his technical arts and which remained as the final great work of his life-time.
It is equally worthwhile to note the persons to whom Beethoven dedicated many of his works. His first 3 works on piano sonatata op 2, which Beethoven began composing in 1795, were dedicated to his teacher Joseph Haydn. By 1797, he began to have private pupils and to one of these he dedicated his second work. In 1798, the following year, he had many admirers to whom he dedicated pieces. As time passed, his circle of social acquaintance widened; his name became widely known in high society. From his wide social acquaintance, one can imagine his rare artistic talent being publically acclaimed by society. His music still exercises great influence even down to our present generation, and will still be so in years to come. There is a common response whenever one plays his work, the more he plays the more he finds himself being absorbed into the depth of the composer's feelings and one cannot but find himself bowing deeply before this great master.
In order to save time from studying each long sonata, I have made a chronological table of the entire 32 sonatas, their keys and movements, and the names of those of whom they are dedicated.
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