2 прелюдии на все мажорные тональности для фортепиано или органа, Opus 39
Время создания: 1789 г.
№1. Moderato
№2. Andante con moto
Саймон Престон, орган
In his later years Beethoven, like many other composers, turned to the music of J. S. Bach for new ideas. However, Beethoven’s admiration of the late Baroque master began while he was still in Bonn. Possibly as an homage to Bach’s preludes and fugues in every key, Beethoven composed two Preludes, both employing each of the 12 major keys. These are less successful works than his later contrapuntal masterpieces, such as the Piano Sonata No. 28, Op. 101, the first movement of the String Quartet, Op. 131, and the Grosse Fuge, Op. 133. It is possible that Beethoven wrote the Preludes, Op. 39, as composition exercises for his teacher, Christian Gottlob Neefe (1748-1798). The Preludes were published in 1803 by Hoffmeister and Kuhnel in Leipzig.
Each Prelude opens in C major and travels around the circle of fifths in the «sharp» direction—C to G to D, etc.—and end up back at C major. The Baroque conception of the pieces is most evident in the linear writing, with independent inner voices.
The first Prelude of the pair is in common time and opens with the theme in the right hand, imitated a measure later in the left. The imitation ceases, however, after only two measures. The piece is generally in three voices with moments of four-voice texture, notably in the C sharp major segment, which for a moment abandons the eighth note pulse. The tune of the very first measure remains consistent throughout the Prelude, appearing at every change of key and for long stretches in every measure. Beethoven stresses the descending four sixteenth notes of the theme in the sections in E flat and B flat, counterbalancing these with upward motion in the F major passage before returning to the theme in full to close in C major.
Cast in cut time, the second Prelude features a quarter-note rhythm almost exclusively. The theme, only four measures long, has fewer landmarks than the theme of the first Prelude, and the music seems to meander from key to key. The texture is consistently dense except in a few places, such as the beginning of the E major passage, which opens with one line in the left hand only. Several keys—D, A, F sharp and E flat—appear for only one measure each. Once Beethoven reaches C major and a nearly literal repeat of the opening measures, he begins the process again, this time allotting only one measure to each of the key areas.
Источник
Прелюдия для фортепиано f-moll, WoO 55
Время создания: 1803 год или раньше.
Gianluca Cascioli (фортепиано)
The date of this composition varies widely according to the source. It may have come as early as 1787, when Beethoven was a mere seventeen years old. Other sources fix the date at around 1803. It was published in Vienna, in 1805, which might indicate recent completion or that Beethoven, who was generally careful in approving early works for publication, found it acceptable to his standards. Both of these possibilities, however, seem unlikely: a patch of ungainly writing would appear to be a strong indication it is an early work. However, how early is the question. The piece is clearly based on Bach’s keyboard style and can be played on either piano or organ.
The awkwardness referred to above is divulged by a highly questionable series of key changes that come in a span of just six measures, perhaps the idea of a brilliant student nearly grasping the subtleties of composition while overlooking his youthful tendency to flaunt. The music has a dark, serious character, reflecting Beethoven’s personality more than Bach’s, all right, but the sound world is from the Baroque era. It is also slightly mechanical-sounding and features little color. In the end, it is a decent minor piece of three or four minutes’ duration that will occasionally be played primarily because Beethoven’s name is attached to it.
(Robert Cummings, Rovi)
In his later years Beethoven, like many other composers, turned to the music of J. S. Bach for new ideas. However, Beethoven’s admiration of the late-Baroque master began while he was still in Bonn, and he may have composed his Prelude in F Minor, WoO 55, as an homage to Bach’s preludes and fugues. It is less successful than his later contrapuntal masterpieces, such as his Piano Sonata, Op. 101, the first movement of the String Quartet, Op. 131 or the Grosse Fuge, Op. 133.
There exists a printed copy of the Prelude in F Minor with the hand-written comment that Beethoven wrote the piece when he was fifteen years old. If this is true, this would place the origins of the work in either 1786 or 1787, because of the confusion surrounding Beethoven’s birth year during the composer’s lifetime. It is possible that the young composer wrote the prelude as a composition exercise for his teacher, Christian Gottlob Neefe (1748-98). The work was published in 1805 by the Bureau des Arts et d’Industrie in Vienna.
Some have drawn parallels between Beethoven’s F minor Prelude and Prelude No. 12 from Bach’s Das Wohltemperierte Klavier, (The Well-Tempered Klavier) also in F minor. The similarity, however, ends at the key signature. Bach’s prelude is in common time while Beethoven’s is in an unusual 3/2 meter. The subjects of the two works have different shapes, although parts of them are somewhat related by inversion, and the two works visit different key areas. Both, however, feature a return of the opening measures before the close of the piece, but this, too, is handled differently by each composer. Whereas the first four measures of the Beethoven appear in full near the end of the prelude, only six beats from the opening of the Bach return, and these are metrically displaced and re-harmonized.
Beethoven’s prelude is a tribute to, and exercise in, Baroque figuration. Generally in three voices, the prelude opens with subject material in the uppermost voice that is then played at different levels simultaneously with lines also drawn from the subject. Beethoven visits several keys throughout the work, although the relative major does not have as strong a presence as it does in Baroque models. Although he recreates the continuous rhythm of a Bach prelude, Beethoven’s Classical-era sensibility hovers in the background, evident in the key relationships and the literal return of much larger portions of material than we find in related works by Bach.
Источник
2 прелюдии на все мажорные тональности для фортепиано или органа, Opus 39
Время создания: 1789 г.
№1. Moderato
№2. Andante con moto
Саймон Престон, орган
In his later years Beethoven, like many other composers, turned to the music of J. S. Bach for new ideas. However, Beethoven’s admiration of the late Baroque master began while he was still in Bonn. Possibly as an homage to Bach’s preludes and fugues in every key, Beethoven composed two Preludes, both employing each of the 12 major keys. These are less successful works than his later contrapuntal masterpieces, such as the Piano Sonata No. 28, Op. 101, the first movement of the String Quartet, Op. 131, and the Grosse Fuge, Op. 133. It is possible that Beethoven wrote the Preludes, Op. 39, as composition exercises for his teacher, Christian Gottlob Neefe (1748-1798). The Preludes were published in 1803 by Hoffmeister and Kuhnel in Leipzig.
Each Prelude opens in C major and travels around the circle of fifths in the «sharp» direction—C to G to D, etc.—and end up back at C major. The Baroque conception of the pieces is most evident in the linear writing, with independent inner voices.
The first Prelude of the pair is in common time and opens with the theme in the right hand, imitated a measure later in the left. The imitation ceases, however, after only two measures. The piece is generally in three voices with moments of four-voice texture, notably in the C sharp major segment, which for a moment abandons the eighth note pulse. The tune of the very first measure remains consistent throughout the Prelude, appearing at every change of key and for long stretches in every measure. Beethoven stresses the descending four sixteenth notes of the theme in the sections in E flat and B flat, counterbalancing these with upward motion in the F major passage before returning to the theme in full to close in C major.
Cast in cut time, the second Prelude features a quarter-note rhythm almost exclusively. The theme, only four measures long, has fewer landmarks than the theme of the first Prelude, and the music seems to meander from key to key. The texture is consistently dense except in a few places, such as the beginning of the E major passage, which opens with one line in the left hand only. Several keys—D, A, F sharp and E flat—appear for only one measure each. Once Beethoven reaches C major and a nearly literal repeat of the opening measures, he begins the process again, this time allotting only one measure to each of the key areas.
Источник
Прелюдия op.55
«Моя готовность служить своим искусством бедному страждущему человечеству никогда, начиная с детских лет, не нуждалась ни в какой награде, кроме внутренней удовлетворенности» — это слова великого немецкого композитора Людвига ван Бетховена.
Уже в 7 лет он начал выступать как клавесинист. С 11-и лет — помощник органиста капеллы. В 1782 г. Было издано первое сочинение Бетховена — 9 вариаций для клавира. В 16 лет, в Вене, он играет свои импровизации Моцарту, находя поддержку своему таланту от великого мастера. Взяв на себя материальную заботу о семье, Бетховен служит в должности органиста капеллы и альтиста театрального оркестра. Сочиняя при этом музыку, он становится студентом философского факультета Боннского университета. В 1792 г. Бетховен обосновывается в Вене, где берёт уроки нотной классической музыки у Гайдна и др. Ширится его слава как пианиста — импровизатора (средства от одного из выступлений Бетховен передаёт вдове Моцарта). В это время он создал ранние фортепианные сонаты, среди которых — «Патетическая», как ее назвал сам автор, «Лунная», «С траурным маршем» (эти неавторские названия укрепились за сонатами позже), 3 фортепианных концерта, 2 симфоний, скрипичные и виолончельные сонаты, струнные квартеты, песни, оратория «Христос на Масленичной горе» и другие. Появившееся в 1797 г. признаки глухоты привели его к тяжелому душевному кризису. «Недоставало немногого, чтобы я покончил с собой. Только оно, искусство, оно меня удержало», — писал Бетховен. Музыка звучала в композиторе, он писал шедевры, будучи совершенно глухим, а для того, чтобы «попадать» в ритм, прислонялся лбом к инструменту.
Свет, побеждающая тьму, страдания, преодоленные этим великим и сильным духом человеком воплотились как победа над собой в опере «Фиделио» Пятой и Третьей («Героической») симфониях, в «Апассионате» (Сонате №23).
В Скрипичном концерте, в «Пасторальной» (Шестой) симфонии, фортепианной Сонате №21 («Авроре») воплощен полный динамичной гармонии взгляд на природу.
В «Русских» квартетах, Седьмой симфонии звучат мелодии, истоками которых являются народные мотивы. Мощным оптимизмом полны Четвёртая симфония, Пятый фортепианный концерт. Бетховен зачастую использует в своих произведениях форму фуги. Движение духа и мысли обретает музыкальное развития произведений последних лет. «Торжественная месса» и итоговая — Девятая — симфония с её финалом: «Обнимитесь, миллионы!» (на слова оды «К радости» Ф. Шиллера), оказали сильнейшее воздействие на симфонизм 19-ого и 20-ых веков.
Смотрите также ноты произведений композитора Людвиг ван Бетховен:
Источник