Beethoven, Ludwig van : 3 Kurfürstensonaten WoO 47
Work Overview
Publication Year:1783
First Publisher:Bossler
Instrumentation:Piano Solo
Genre:sonata
Total Playing Time:32 min 00 sec
Copyright:Public Domain
Additional Notes:ケルン選帝侯大司教マクシミリアン=フリードリヒに献呈されたことから、このように呼ばれる。ベートーヴェンは師ネーフェのもとでの学習成果として「ドレスラーの行進曲による9つの変奏曲」、「ロンドハ長調」、「ロンドイ長調」と共にこの曲を出版した。当時無名の少年の作品集が出版されたことは異例であったと思われる。(2008/11 岡田)
Commentary (1)
Author : Tetsu, Yurina
Last Updated: January 18, 2020
[Open]
Author : Tetsu, Yurina
General Overview
Composed by Beethoven between 1782 and 1783, when he was 11 to 12 years old, these sonatas were dedicated to Maximilian Frederick, Elector of Cologne (hence, they are known as the "Electoral Sonatas"). They were published on October 14, 1783, through the efforts of his teacher Neefe [1], and presented as "the work of an 11-year-old young genius." Since Beethoven was born in December 1770, he was 12 years old in October 1783. However, if the advertisement referred to his age in 1782, when the majority of the composition was completed, then the claim of "11 years old" was not false [2].
Prior to this publication (on March 2 of the same year), Neefe contributed an article to a widely read music magazine [3], praising Beethoven as someone who "plays J. S. Bach's The Well-Tempered Clavier with ease," and recommended him for further study abroad, concluding that "he will surely become a second W. A. Mozart."
This Neefe assumed the position of court organist in Bonn in February 1781, where he taught Beethoven organ and piano performance and composition, providing him with J. S. Bach's The Well-Tempered Clavier and piano sonatas by his son C. P. E. Bach [4] as teaching materials. C. P. E. Bach's musical expression and compositional style encompassed "Sturm und Drang," "galant style," and "Empfindsamer Stil" (sensitive style), which profoundly influenced Beethoven's piano sonatas, especially these Electoral Sonatas[1].
Analysis of Each Movement
No. 1 in E-flat Major WoO 47-1
This work, which can be considered Beethoven's first piano sonata, adopts the slow-fast-slow three-movement structure established by the Mannheim School, showing traces of his teacher Neefe's instruction (Beethoven's first published work, incidentally, was Nine Variations on a March by Dressler, WoO 63).
Characteristics of the Mannheim School include:
- The supremacy of melody (the concept of basso continuo is no longer present).
- Long crescendos known as "Mannheim rockets."
- Sigh motifs (descending second intervals).
- Dramatic dynamic contrasts (e.g., frequent alternations between f and p even in very short intervals).
- Wind writing independent of string instruments (especially woodwinds).
Their performances swept across Europe, generating widespread enthusiasm. Mozart was also greatly influenced by the Mannheim School. The perceived similarity between these Electoral Sonatas and Mozart's works is precisely because they share the same roots in the Mannheim School.
Movement 1: Allegro cantabile
E-flat Major, 4/4 time. The tempo marking "Allegro cantabile" (singing allegro) clearly shows the influence of the Mannheim School (supremacy of melody). The writing of the main theme evokes chamber music for woodwinds, enveloped in a calm and bright atmosphere. The frequent dynamic shifts are likely also an influence from the Mannheim School, but their musical idea suggests the mischievousness of young Beethoven rather than aiming for mere performance effect.
The secondary theme from measure 11 is a lyrical melody with an upper mordent and appoggiaturas, truly like the song of a "little bird." The development section (from measure 31) repeats the main theme in the dominant key of B-flat Major. At measure 41, a new theme strikingly appears in C minor, and after a brilliant arpeggiated transition, the recapitulation of the main theme is omitted, and the secondary theme (from measure 56) is recapitulated in the tonic key of E-flat Major.
Movement 2: Andante
B-flat Major, 2/4 time. A slow movement.
The main theme uses the opening motif of the first movement (a dotted anacrusis rhythm ascending a fourth), thus creating a sense of unity between the movements. The secondary theme is played in the tenor register from measure 13. The development section is a mere six measures long (from measures 31-36), leading to the recapitulation guided by an ornamental passage in the left hand. In the recapitulation, the secondary theme also returns in the tonic key, placing the melody in the alto register, resulting in a softer expression than in the exposition.
Movement 3: Rondo vivace
E-flat Major, 6/8 time, Rondo form. It adopts the most classical rondo form structure, where the main theme (A) is repeated after each of three episodes (B, C, D) (A-B-A-C-A-D-A). The theme is an 8-measure light, woodwind-like melody.
The first episode (from measure 9) begins in E-flat Major, following the theme, and then modulates to B-flat Major in its running passage-like latter half.
The second episode (from measure 45) also begins in the same E-flat Major as the theme, but the left-hand octaves have a strong character, and the contrast between f and p is vivid.
The cadenza-like right hand (from measure 56) possesses technical brilliance, and the sudden appearance of E-flat minor at measure 63 offers a glimpse into Beethoven's passion, which is striking.
The third episode (from measure 80) is in C minor. This is a key of significant importance to Beethoven, later used in his Piano Sonata No. 8, "Pathétique," and Symphony No. 5, "Fate."
No. 2 in F Minor WoO 47-2
This sonata in F minor, imbued with a tragic and somber mood, features an introductory section in its opening movement. It is not only the most outstanding among the three Electoral Sonatas but also one of the most important works composed by Beethoven during his Bonn period. While minor-key sonatas are rare among Haydn's and Mozart's keyboard sonatas, and F minor ones are absent, making this key choice seem unusual, it is considered not so exceptional for Beethoven, who was familiar with C. P. E. Bach's keyboard sonatas through his teacher Neefe.
Movement 1: Larghetto maestoso - Allegro assai
F minor, 2/2 time - 4/4 time. After a lamenting arpeggio is played f, a passage follows p, as if whispering powerlessly, having given up everything. Then, over the left hand writhing in the lowest register as if mimicking the depths of the earth, the right hand struggles to ascend, but falls back, unfulfilled. This mere 9-measure introduction is colored by various kinds of despair and terror.
From measure 10, it becomes Allegro assai, and a whirlwind of emotions pours forth as if unchained.
The secondary theme (from measure 18) modulates to the relative major, A-flat Major.
The development section (from measure 37), though initially in A-flat Major, quickly darkens to minor, unleashing intense passion. At measure 47, the opening introduction returns (this structure is a technique that culminates in the later Piano Sonata "Pathétique"). After this, it returns to a rapid Allegro assai, and both the main theme and secondary theme are recapitulated in the tonic key of F minor.
Movement 2: Andante
A-flat Major, 2/4 time. The main theme is an inversion of the latter half of the first movement's secondary theme (measures 20-21), thus, similar to No. 1, unity between movements is achieved in this No. 2 as well.
The secondary theme (from measure 19) modulates to the dominant key of E-flat Major, and the right-hand passage is meticulously articulated and adorned with trills. The intricate craftsmanship at such a young age is beautiful. The development section (from measure 41) develops an inversion of the main theme in F minor, and the serious "sigh motif" appearing in the left hand, along with repeated notes that incite anxiety, express deep anguish. In the recapitulation (from measure 61), the main theme's return is omitted, and the secondary theme is recapitulated in the tonic key of A-flat Major, concluding with a coda based on the main theme.
Movement 3: Presto
F minor, 2/4 time. The main theme is in unison, making one imagine a continuous walk with flowing tears. It is poignant precisely because it acts so bravely and strongly. The 16-measure main theme, in its subsequent repetition, appears an octave higher, with the melody slightly varied, accompanied by an Alberti bass in the left hand. The secondary theme (from measure 33) is in A-flat Major, followed by a lengthy codetta spanning 30 measures from measure 45 onwards. Subsequently, the main theme appears in a varied form, which might lead one to mistake it for a development section, but this is the recapitulation, and the development section is omitted. The main theme, which occupied 32 measures in the exposition (including repetition), is shortened to a mere 10 measures in the recapitulation. In contrast, the secondary theme and subsequent material are recapitulated in their complete form in F minor.
No. 3 in D Major WoO 47-3
This sonata adopts a larger structure than the previous two, indicating an advancement in compositional skill. Written with an idiom that exploits the characteristics of keyboard instruments, the entire piece is filled with a brilliant splendor reminiscent of a piano concerto. Here, one can observe the influence of C. P. E. Bach's "galant style." It incorporates a wealth of musical ideas, such as the expansion of transition sections and codettas, the attempt to use variation form in the slow movement, and labeling the final movement "Scherzando," demonstrating a challenging and ambitious attitude towards existing forms. The work is brimming with the youthful energy and ambition of young Beethoven.
Movement 1: Allegro
D Major, 4/4 time. An innocent anacrusis descends into the heart. The thirds in double stops are warm, and the end of the phrase (measure 4) sounds like rolling bells, like laughter. After the 8-measure main theme, an equally 8-measure cheerful, conversational transition section follows, leading to the secondary theme in A Major (from measure 17). Only the first measure begins in a canonic style, transitioning into a brilliant, piano concerto-like passage. At the end of the transition (from measure 37), a varied version of the main theme, darkened to A minor and intertwined with the secondary theme, is introduced, an excellent device to capture the audience's attention. The development section (from measure 50) begins in A Major, unfolding virtuosic passages while modulating rapidly. The main theme in the recapitulation (from measure 73) is shortened, leading directly into the secondary theme without a transition, but the seemingly omitted transition section unexpectedly reappears after a concerto-like passage (from measure 95). Even in a recapitulation close to the standard form, a clever device is incorporated.
Movement 2: Menuetto sostenuto
A Major, 3/4 time, variation form. A simple and elegant minuet serves as the theme, followed by six variations. All variations are classical figural variations, preserving the harmonic progression of the theme. In Variation 1, the right hand is subdivided into 16th notes with graceful arpeggios, and symmetrically, in Variation 2, the left hand is similarly subdivided while the right hand plays the theme's melody. In Variation 3, the subdivision further progresses based on triplets, and in Variation 4, it reaches 32nd notes. While maintaining the same tempo as the theme might be difficult on modern pianos with heavier keys, it would have been entirely possible on the fortepiano of Beethoven's time. Therefore, this section should be played lightly, like dancing wind, as a musical expression rather than a display of virtuosity. In Variation 5, it modulates to A minor, resetting to a simpler rhythm centered on syncopation. Variation 6, as befits a final variation, has a bright and cheerful character.
Movement 3: Scherzando: Allegro, ma non troppo
D Major, 2/4 time. It is unusual to label a finale "Scherzando." The first half has the structure of a sonata form exposition, and the second half is a rondo form with a coda. The phrase structure is more elaborate than ever before, especially the interesting discrepancy between the harmonic progression and phrase structure around the secondary theme, as if trying to conceal where the secondary theme begins. Is this a deliberate device, or is it due to the natural inspiration of Beethoven, who was a master of improvisation? While it is clear that the main theme concludes at measure 16, the structure of the transition section, which begins in a canonic style from measure 17, is whimsical. The author interprets the 4+1=5 measures as a cadenza-like transition. Therefore, the secondary theme is from measure 22 (4+4+6 measures), and the codetta begins from measure 36. After the main theme returns following a 12-measure interlude from measure 58, the movement takes on the character of a rondo form. Is the trill appearing at measure 89 a germ of his later sonatas?
[1] Christian Gottlob Neefe, February 5, 1748 – January 28, 1798.
[2] Some Japanese sources occasionally state "composed at age 13," which might stem from the Japanese custom of kazoe-doshi (traditional age counting). Such sources attribute the advertisement of "composed at age 11" to "his father having previously spread the word that he was two years younger." References: Keisei Zoku, Beethoven no Sakuhin (Jo) [Beethoven's Works (Vol. 1)], Tokyo: Sanseido, 1944. Beethoven Piano Pieces Collection, Performance Commentary by Mayako Muroi, Musical Commentary by Koichi Nomura, Tokyo: Kawai Gakufu Shuppansha, 1971. Yoshio Ito, Beethoven no Piano Sakuhin [Beethoven's Piano Works], Tokyo: Ongaku no Tomo Sha, 1962. Ito also states regarding the "age 11" advertisement that "it is accurate in terms of his full age from the year of composition."
[3] Magazin der Musik (Music Magazine), published by Carl Friedrich Cramer (1752-1807).
[4] Carl Philipp Emanuel Bach, March 8, 1714, Weimar – December 14, 1788, Hamburg. Second son of J. S. Bach.
[1] The musical examples in this commentary use the old Breitkopf complete edition.
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