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Соната входит в Opus 10 под №3, была написана Бетховеном в 1798 году и посвящена графине Анне Маргарите фон Браун (Anne Margarete von Browne).
В сонате четыре части:
1. Presto
2. Largo e mesto
3. Menuetto (Allegro)
4. Rondo (Allegro)
(Вильгельм Кемпф)
В этой сонате, в отличие от двух предыдущих - очень лаконичных. возобновляются (имеем в виду первую часть) поиски богатства тематического состава, расширения формы сонатного аллегро. К тому же соната вновь четырехчастна.
Образное содержание, как увидим, отличается значительным разнообразием и очевидными противоречиями. Ленц справедливо считал эту сонату одной «из наиболее симфонических». Ромен Роллан очень верно отметил, что «недостаточная органическая последовательность», присущая этой замечательной сонате. «зависит от разнообразия впечатлений художника, который еще не помышляет объединить их в своем произведении». Богатство творческих идей Бетховена пока не обретает вполне законченной формы.
(Юрий Кремлев. Фортепианные сонаты Бетховена)
The Opus 10 sonatas are usually described as angular or experimental, as Beethoven began moving further and further away from his earlier models. The Third sonata of this set is the longest, and spans approximately 24 minutes. It is the only one of the Opus 10 sonatas that has 4 movements. The second movement is famous for its intimations of later tragic slow movements, as well as for its own beauty.
Already in the opening Presto of the third sonata, Beethoven expands the traditional sonata form movement, but not the expository sections. It is true that the main theme is 10 measures long and followed by a six-measure contrasting phrase, but this was less striking to Beethoven's contemporaries than a transition that is twice as long as the theme. There is such a wealth of material that it is best to discuss the work in terms of "theme groups," not merely themes. The second theme and closing groups have 11 contrasting ideas among them, and the momentary shift to the minor mode in the second theme group is more than just a colorful device; it has long-range implications. When this material returns in the recapitulation, it does so on the tonic minor (D minor), the relative minor of F major and the key of the second movement. This brief appearance of a "flat" key in the recapitulation is anticipated by the "flat" key areas of the development section.
Marked Largo e mesto and in 6/8, the second movement is cast in D minor. Beethoven explores the full range of the keyboard in this emotive sonata-form structure before it dissolves in the manner of the "Funeral March" of the Third Symphony.
The Minuet returns to D major. In a move somewhat unusual for Beethoven, the second theme of the minuet is very different from the first, providing the same contrast typical of a Haydn minuet. The trio, in G major, does not follow the traditional format and gives the pianist a chance to do some fancy hand crossing.
The Rondo finale is a showcase for Beethoven's variation technique. The rondo theme is altered upon return, as is the material of the first episode, which is spliced to the beginning of a new episode later in the movement. Fragments of the rondo theme tease the listener in this high energy movement.
(John Palmer, Rovi)