Piano Sonata No. 14 (Beethoven)

The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, is popularly known as the "Moonlight" Sonata (Mondscheinsonate in German). The work was completed in 1801 and rumored to be dedicated to his pupil, 17-year-old Countess Giulietta Guicciardi, with whom Beethoven was, or had been, in love. The name "Moonlight" Sonata derives from an 1832 description of the first movement by music critic Ludwig Rellstab, who compared it to moonlight shining upon Lake Lucerne. (See also below.)

Beethoven included the phrase "Quasi una fantasia" (Italian: Almost a fantasy) in the title partly because the sonata does not follow the traditional sonata pattern where the first movement is in regular sonata form, and where the three or four movements are arranged in a fast-slow-[fast]-fast sequence. Instead, the Moonlight sonata possesses an end-weighted trajectory; the climax is held off until the third movement. To be sure, the deviation from traditional sonata form is intentional. In his analysis of the Moonlight sonata, German critic Paul Bekker states that “The opening sonata-allegro movement gave the work a definite character from the beginning…which succeeding movements could supplement but not change. Beethoven rebelled against this determinative quality in the first movement. He wanted a prelude, an introduction, not a proposition.” By placing the most dramatic form (sonata form) at the end of the piece, Beethoven could magnify the drama inherent in the form.

The work is probably the most famous of all Beethoven's piano sonatas, and is widely performed and recorded.

Form

The sonata has three movements:

1. Adagio sostenuto
2. Allegretto
3. Presto agitato

The first movement is written in a kind of truncated sonata form. The movement opens with a partial Phrygian tetrachord in the left hand and triplet figuration in the right. A melody that Hector Berlioz called a "lamentation" is played (mostly by the right hand) against an accompanying ostinato triplet rhythm (simultaneously played by the right hand). The movement is also played pianissimo or "very quietly", and the loudest it gets is mezzo-forte or "moderately loud". The movement has made a powerful impression on many listeners; for instance, Berlioz wrote that it "is one of those poems that human language does not know how to qualify." The work was very popular in Beethoven's day, to the point of exasperating the composer, who remarked to Carl Czerny, "Surely I've written better things."

The second movement is a relatively conventional minuet and trio; a moment of relative calm written in D-flat major. This key signature is equivalent to C-sharp major, that is, the tonic major for the work as a whole. Of the second movement, Franz Liszt described it as "a flower between two chasms."

The stormy final movement (C-sharp minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.

Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing."

It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopin's Fantaisie-Impromptu.

The musical dynamic that predominates in the third movement is in fact piano. It seems that Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the overall dynamic.

Beethoven's pedal mark

See also: Piano history and musical performance, Mute (music), and Piano pedals § Beethoven and pedals

At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino" ("One must play this whole piece [meaning "movement"] very delicately and without dampers."). The modern piano has a much longer sustain time than the instruments of Beethoven's day. Therefore, his instruction cannot be followed by pianists playing modern instruments without creating an unpleasantly dissonant sound.

One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethoven's original direction.

For performance on the modern piano, most performers today try to achieve an effect similar to what Beethoven asked for using pedal changes only where necessary to avoid excessive dissonance. For instance, the Ricordi edition of the score posted at the external link given below does include pedal marks throughout the first movement. These are the work of a 20th century editor, meant to facilitate performance on a modern instrument. "Half pedaling"—a technique involving a partial depression of the damper pedal—is also often used to simulate the shorter sustain of the early nineteenth century pedal. Charles Rosen suggests both half-pedaling and releasing the pedal a fraction of a second late.

Anecdote

According to a popular anecdote that circulated in the 19th century, Beethoven wrote his Moonlight sonata ... when playing the piano for a blind girl at night. Thus the sonata was called Moonlight sonata. This anecdote was particularly popular at the end of the 19th century and was a frequent topic for painters and graphic artists.

External links

• Detailed analysis and recordings review of Beethoven's Moonlight Sonata
• listen to moonlight sonata Beethoven’s Piano Sonata No. 14 in C sharp minor, Op. 27, No. 2, "Moonlight" performed by Artur Schnabel.
• A version of the first movement of Moonlight Sonata played entirely on the Mellotron
• Recordings of this Sonata by Alberto Cobo
• For a public domain recording of this sonata visit Musopen

Scores

• Free scores by Piano Sonata No. 14 at the International Music Score Library Project (IMSLP)
• Score of the "Moonlight" Sonata, typeset and placed in the public domain by Chris Sawer, is part of the Mutopia project. Available at [1].
  • 1st Movement: Adagio sostenuto, local copy: PDF Version (info)
  • 1st Movement: Adagio sostenuto, 2nd Movement: Allegretto and 3rd Movement: Presto agitato: PDF Version
• Sonata No. 14 at the Mutopia Project
• The William and Gayle Cook Music Library at the Indiana University School of Music has posted a scan of the score (Ricordi edition).