Beethoven Sonata No. 12 Op. 26

[iroveashe]

This is a rather vague, and rather improvised explanation on Beethoven's Sonata No. 12 in A-flat major, Op. 26, 1st Movement, Andante con variazioni. This is mainly directed at Javacisnotrecognized since he asked, but I'd appreciate anyone's input into the subject.

The first part establishes the main theme, and is followed as usual by variations. The theme is rather soft and light, and after being presented it is repeated with a slight variation, which gives it a sense of progression, which is, I think, a key concept to this particular movement (and many of Beethoven's works) as a way to reach climax. The first variation is mainly composed of ascending arpeggios, which rest on a high note before releasing the tension on a lower note, after doing that twice that high note is repeated instead of being released right away. Second variation is much more vivid in contrast with the 1st one and in my opinion more 'attractive'. Contrasting again is the 3rd variation, which is quite dark and mysterious. Fourth variation is more sporadic, with different parts broken down, melody on one side, bass on the other and some seemingly random chords here and there, giving it a sense of instability and spontaneity. Here, on the lasts variations is where the magic of this movement occurs; it is, again, contrasting with the previous variation. For starters it's evenly covered with notes, like a surface, always following the structure of the first main theme very harmonically but it's just that for now, the melody is not entirely distinguishable, then we start hearing the melody with a different approach, very clear and cantabile, with arpeggios as background to achieve that sense of progression, evolution and climax I first mentioned. That variation was the climax of the movement, had the variations be placed differently we wouldn't get to this part with the same feeling, and as we enter the last variation we can clearly hear from the very first bar of it that Beethoven is saying goodbye and closing the movement. That transition between the 2 last variations always leaves breathless.

[db05]

I would just like to point out that this thread was started because javacisnotrecognized expressed his dislike of Beethoven and asked for an explanation of what's so good about it (Beethoven's work that is)... and ... iroveashe, a Beethoven fan himself, failed to give a satisfying explanation, much less a reason to like the work.

But why this sonata? I do not particularly like this one. Nor do I love Beethoven, but that is personal preference, and does not mean that the music is bad. Sorry irove, it seems I cannot help much since I only have a copy of the later sonatas, No. 1, No. 5, and Pathetique. Only the recordings and online copies (my eyes would burn!) are available. I may need a few more references... Please forgive and correct any mistakes here; remember that I am just a student of 2 years.

This 1st mvt is very unique, as it does not follow the usual sonata-allegro. But wait, haven't we heard of a sonata starting with a theme and variations before? Mozart did it, in his sonata in A K331! Whether the whole concept is patterned after the Mozart one, I cannot say, at least not so soon as it would require me to analyze two works instead of one! lol!

THEME
It is neither entirely sad nor happy. There is like a theme within this theme, I call it A, followed by a varied A, then another theme B, then A again. A is just one melody with accompaniment, quietly telling its neutral story, but in B another voice enters with his opinion "That's just how it is," A says "uh-huh", and then returns to his seemingly impassioned storytelling. "Once upon a time..."

VAR 1
At first glance, it seems like an etude for rolled arpeggios on the first beat (usually).
Like "sweeping", as in shred guitar. It seems a rather vain attempt of giving more color
to this neutral story, because although the interval leaps of the melody would otherwise give a cheerful effect, the low pitch and p dynamic. The LH melody in the B part reminds me of Chopin's Prelude in Bm, thus seeming to hint at a something sad underneath this vain attempt of seeming happy.

VAR 2
Reminiscent of Albeniz' Leyenda/ Asturias, I did not expect to find this rhythmic pattern in a much older, non-Spanish/flamenco work. But here it is. The rhythm is like jumping, and the melody is in the bass. In Leyenda, which is minor, it gives a feeling of fighting or chase. This variation in a Major key can be taken both ways. It is either fighting the hint of sadness, saying "No, that's not right" or chasing the missing happiness.

VAR 3
With a more dance-y feel, this variation seems to be a cross between a Waltz and a Tango (proabably because I had seen a few Tangos with the 16th-8th-16th pattern). Also, the key has turned finally turned minor. The storyteller seems to be much less hopeful in his fight/ chase, and is now pacing around. Oddly enough, it seems like a dance because of the LH. As if the "countermelody" is trying to follow and comfort the turning-hopeless storyteller... and invite him to dance...?

VAR 4
The more Romantic, Chopin-esque variation is finally here! What's odd is that I can't
pinpoint the Chopin that sounds like it. But it sounds like a dance in major key. The storyteller has accepted the dance!

VAR 5
This reminds me of Mozart's Twinkle Star Variations. Which, contrary to iroveashe, destroys the whole thing for me, because it started so Romantic and ended up so Classical. My memory of Twinkle is so strong that I cannot think of anything else here except, "Twinkle twinkle little star, how I wonder what you are..." in a childlike, cheerful tone. And I guess that's what it means, the composer's way of saying, "And they lived happily ever after. The end."

OVERALL

At first listen, this piece would seem like a vain attempt to make something great with
just a theme (story) and a few variations. But what if that was what the composer has been trying to express all along? LOL! Then this piece is a musical joke, and the joke's on us, who take it too seriously.

Edit: Cut out some useless stuff.

[go12_3]

Now, I only listened to the Andante part of this Sonata----pianist: Eunice Norton.
Here's the thing:  we get so caught up with the technical aspect  and every nuance of a piece that where is the main enjoyment of just what this piece provides.  The introduction is melodic, in which I find very light, and there is an intensity in a second part which is faster and a third part has a playfulness. 

To sum it all up :  a nice piece to listen to, I am not familiar with it , but glad to have been introduced to it by irove because he does have a love for Beethoven's music. 
This piece is colorful with embellishments, that Beethoven  is famous for, and I noticed that this piece has a variety of techniques involved for the technical student in mind.  However, sometimes we lose so much of the musicality by dissecting a piece rather than just playing it for the joy of the brilliant sound and harmonies. 

Best regards, 

go12_3

[iroveashe]

I would just like to point out that this thread was started because javacisnotrecognized expressed his dislike of Beethoven and asked for an explanation of what's so good about it (Beethoven's work that is)... and ... iroveashe, a Beethoven fan himself, failed to give a satisfying explanation, much less a reason to like the work.

Java expressed his inability to understand Beethoven, he never told me he didn't like his music. But rather than trying to understand it he decides to provoke me and test my understanding of Beethoven's music. This is the way I see the situation: There's a house. Outside the house there are two men; Man A is facing the house while Man B is facing Man A, therefore with his back facing the house. Man B asks Man A if he can see the house to which Man A replies "Of course, it's right in front of me"; "Alright then, describe it" says Man B and the other man's response is this "Well, it's made of bricks, we could say it's rather big, with a fair amount of windows distributed around the front part of the house, two floors and I can see a chimney." Man B is angry: "Are you sure you can see the house? You didn't tell me the number of windows it has, how many meters each of the walls is, and how tall is the house, do the windows have curtains? What color are the bricks? What size are the bricks? From your explanation my conclusion is that you cannot see the house." The logical solution would be Man B turning around and looking at the house rather than expecting someone else to explain it perfectly to him.

But why this sonata? I do not particularly like this one.

That you should ask Java; my guess is he randomly picked a specific work to "caught me off guard" or he chose it because Chopin was a big fan of that particular sonata, as the structure of his Sonata in B-flat minor is somewhat similar.

Anyways, perhaps what Java is looking for is something like this.

[db05]

Okay, then. He doesn't necessarily dislike, just doesn't understand. Or does he?
I think he unerstands, and he's just joking with you.

irove says "climax" three times in the first post!

[franzliszt2]

How anyone does not love Beethoven is beyond me...