Beethoven's piano music: Ode to Joy

  Sonatas

Every sonatas which Beethoven create has its own particular rewards to listener. Such like Pathétique (Op. 13) boomed up the musical world with the unprecedented violence of its expression. The Appassionata (Op. 57) created by Beethoven after he became deaf, and Beethoven said for his creation "Fate by the throat" as himself. Moonlight (or Sonata quasi una Fantasia, Op. 27 No. 2) is certain one of his sonatas which listener liked. Because of the first movement which where can atracted people when they first listen. Ludwig Rellstad, the music critic said that when he listened to the first movement as reflected of the surface of Lake Lucerne.               (Moonlight ; 1st movement)

 The gigantic Hammerklavier Sonata (Op. 106) rarely played because of its immense challenge of its pianist.

   Variations

Another interresting element of Beethoven's music is the variations. 

The variation started in witty works published when he stqrted sat down improved with his beloved keyboard. Like Eroica- (Op.35) and Diabelli Variations (Op. 120).

   Concertos

Finally he has his concertos which representing with the climax of Classical concerto but also serving the models of Romantic concerto. 

   From all of Beethoven's masterpieces, he has his own favourite songs. Those are sonatas. He think that the sonatas which he made are not such a song which can used in one day but throwed in another day. These sonatas are contain all of his mind, what he imagined, what he heaped, and all of these part are nature for him.
   From 32 sonatas which Beethoven's made are the big treasure of human. Beethoven's changed sonata from its old form. Beethoven imposes on the sonata his strong personality creating a new, impressive, form of art, in which his own life, with its joys and sorrows, is projected.
     The fundamental principle of organization of the Beethoven piano sonata is the tonality. We can say that Beethoven perceived tonality as the key to any composition, since it leads to the true understanding of the musical form.
      In what the structural architectonic of the Beethoven piano sonatas is regarded, there are no apparent patterns: out of the thirty-two sonatas written by Beethoven, twelve have four parts, thirteen have three parts and seven have two parts. Another interesting aspect is that of the diversity of de movement types and the order of succession. The sonatas Op. 26, 27, 54, 109 or 110 reveal this total liberty of dealing with the character of the constitutive pats and their order in the sonata form. But, no matter the movements or their order of succession, there can be established a general characteristic of the Beethoven piano sonata (and work in general) can be easily established: his great care to create a easily perceptible connection between the constitutive parts of the sonata.

Opera Fidelio

    For this presentation of material to Beethoven's only opera Fidelio, we have expanded on our new mode of presentation and are introducing with it a new level of in-depth treatment of one particular Beethoven work.

It features a thorough creation history, a compilation of all three versions of the work in table form, a plot description in form of a combination of 'synopsis' and description of the musical content, the libretto text of the 'standard' 1814 version, a collection of comments and criticism of the work as these emerged in music history, a section on interesting topical links and a listing of sources used.

We hope that this thorough introduction to Beethoven's Fidelio provides you with many incentives for further study, listening experiences and, at best, lively stage performances!