{"id":7022,"date":"2014-07-15T05:59:12","date_gmt":"2014-07-15T05:59:12","guid":{"rendered":"http:\/\/www.pianostreet.com\/blog\/?p=7022"},"modified":"2014-07-26T12:10:09","modified_gmt":"2014-07-26T12:10:09","slug":"moonlight-trapped-in-the-sonata-form","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/piano-news\/moonlight-trapped-in-the-sonata-form-7022\/","title":{"rendered":"Moonlight Trapped in the Sonata Form?"},"content":{"rendered":"

Sonatas come in many shapes throughout the history of music. The name Sonata is derived from the Italian word \u201csuonare\u201d (to sound) as opposed to “Cantata” (to sing). Although we find many single movement pieces from the Baroque period and mid-18th century named sonatas, it is not until Haydn<\/a>, Mozart<\/a> and Beethoven<\/a> develop a 3 (or 4) movement disposition that we can talk about the term \u201dsonata form\u201d. They all added extra movements in order to create what Leonard Bernstein later explained: “\u2026 perfect three-part balance, and second, the excitement of its contrasting elements. Balance and contrast \u2014 in these two words we have the main secrets of the sonata form.”<\/em><\/p>\n

The popular classical form<\/h2>\n

For both Haydn, Mozart and early Beethoven it is still the first movement in the sonata which stands paramount in the construction. Additionally a slow movement and a fast movement could be added, each having a specific function in the musical argument of the complete piece. Beethoven eventually develops the form and strengthens each movement\u2019s own specific character and even re-disposes the number of movements and alters the fast-slow-fast disposition of the Classial era. <\/p>\n

How can we explain this immense popularity of the sonata<\/strong> for over two hundred years? What makes it so satisfying, so complete?
\nIn Beethoven’s hands the piano sonata underwent a drastic development from his early works inspired by Haydn and Mozart until his late experimental and bold works with a much freer concept of form and drama. The term “sonata form” appears in the mid-19th century and Beethoven’s 32 piano sonatas were the basis for the analysis.<\/p>\n

The Moonlight Sonata is different<\/h2>\n

\"\"There are no specific reasons why Beethoven decided to title both the Op. 27 works as Sonata quasi una fantasia<\/strong><\/em> (“sonata in the manner of a fantasy\u201d), but the layout of no. 2 (the Moonlight Sonata) does not follow the traditional fast\u2013slow\u2013fast. Instead, the sonata proposes an end-weighted journey<\/strong>, with the rapid music held off until the third movement. The sonata consists of three movements:
\nAdagio sostenuto-Allegretto-Presto agitato
\nThe name “Moonlight Sonata” comes from the German music critic and poet Ludwig Rellstab, five years after Beethoven’s death.<\/p>\n

Beethoven: Sonata Sonata Op. 27 no. 2, piano sheet music<\/a>:
\n\"Moonlight<\/a><\/p>\n

Two distinctly different interpretations<\/h2>\n

Here we listen to a recent performance of the Moonlight Sonata by pianist Yundi Li from a popular TV-show in Japan. His interpetation is quite traditional with a slow and beautiful rendition<\/strong> of the first movement while his last movement is very clean and polished – indeed not one of the more wild and stormy versions we have heard. But that is perhaps what to expect by Yundi Li, who is a former International Chopin Competition winner (2000).<\/p>\n

On the other hand we have Andras Schiff who, in recent years, has proposed a completely different interpretation<\/strong> of the first movement for three resons:
\n1. The nickname “Monlight Sonata” is nonsense.
\n2. Since the meter is “Alla breve” we should count two beats (half notes) per bar, calling for a quite light and quick tempo.
\n3. Beethoven writes in the beginning of the piece “Si deve suonare tutto questo pezzo delicatissimamente e senza sordino” which means “This whole movement must be played with the utmost delicacy and without dampers. (i.e. with right pedal down). If that means that we should keep the right pedal constantly down<\/strong> throughout the piece or to change pedal in a traditional way when harmony changes is the big question for debate.
\nListen to Schiff’s lecture below for a more detailed description.<\/p>\n