Wasu fasalulluka na sonatas na piano na Beethoven

Beethoven, babban maestro, masanin sigar sonata, a tsawon rayuwarsa ya nemi sabbin fuskokin wannan nau'in, sabbin hanyoyin da zai shigar da tunaninsa a ciki.

Mawaƙin ya kasance da aminci ga canons na gargajiya har zuwa ƙarshen rayuwarsa, amma a cikin neman sabon sauti sau da yawa ya wuce iyakokin salon, yana samun kansa a kan hanyar gano sabon salon soyayya, amma ba a san shi ba. Hazakar Beethoven shine ya dauki sonata na gargajiya zuwa kololuwar kamala kuma ya bude taga cikin sabuwar duniya na abun da ke ciki.

Misalai masu ban mamaki na fassarar Beethoven na zagayowar sonata

Tsayawa a cikin tsarin tsarin sonata, mawaki ya ƙara ƙoƙari ya ƙaura daga tsari na gargajiya da tsarin zagayowar sonata.

Ana iya ganin wannan a cikin Sonata na biyu, inda maimakon minti daya ya gabatar da scherzo, wanda zai yi fiye da sau ɗaya. Yana amfani da nau'ikan nau'ikan da ba na al'ada ba don sonatas:

• tafiya: a cikin sonatas No. 10, 12 da 28;
• masu karatun kayan aiki: a cikin Sonata No. 17;
• Ariso: in Sonata №31.

Yana fassara zagayowar sonata da kanta sosai. Da yardar kaina rike da hadisai na alternating jinkiri da sauri ƙungiyoyi, ya fara da jinkirin music Sonata No. 13, "Moonlight Sonata" No. 14. A cikin Sonata No. 21, abin da ake kira "Aurora" (wasu Beethoven sonatas suna da lakabi), motsi na ƙarshe yana gaba da wani nau'in gabatarwa ko gabatarwa wanda ke aiki a matsayin motsi na biyu. Muna lura da kasancewar wani nau'in jinkirin jinkiri a cikin motsi na farko na Sonata No. 17.

Beethoven kuma bai gamsu da adadin sassa na gargajiya ba a cikin zagayowar sonata. Sonatas Nas. 19, 20, 22, 24, 27, da 32 motsi biyu ne; fiye da sonata goma suna da tsarin motsi huɗu.

Sonatas No. 13 da No. 14 ba su da sonata allegro guda ɗaya kamar haka.

Bambance-bambance a cikin sonatas na piano na Beethoven

Mawaƙin L. Beethoven

Wani muhimmin wuri a cikin ƙwararrun ƙwararrun sonata na Beethoven yana shagaltar da sassan da aka fassara ta hanyar bambancin. Gabaɗaya, dabarar bambance-bambance, bambance-bambance kamar haka, an yi amfani da shi sosai a cikin aikinsa. A tsawon shekaru, ya sami 'yanci mafi girma kuma ya bambanta da bambancin gargajiya.

Motsi na farko na Sonata A'a. 12 shine kyakkyawan misali na bambance-bambance a cikin nau'in sonata. Don duk laconicism, wannan kiɗa yana nuna nau'in motsin rai da jihohi. Babu wani nau'i face bambance-bambancen da zai iya bayyana yanayin makiyaya da tunani na wannan kyakkyawan yanki cikin alheri da gaskiya.

Marubucin da kansa ya kira yanayin wannan sashin “Toughtful reverence.” Waɗannan tunanin ruhin mai mafarki da aka kama a cikin cinyar dabi'a sune tarihin rayuwa mai zurfi. Ƙoƙarin kuɓuta daga tunani mai raɗaɗi kuma ku nutsar da kanku a cikin tunanin kyawawan wurare koyaushe yana ƙarewa a cikin dawowar ko da tunani mai duhu. Ba don komai ba ne waɗannan bambance-bambancen ke biyo bayan tattakin jana'iza. Ana amfani da sauye-sauye a cikin wannan yanayin da kyau a matsayin hanyar lura da gwagwarmaya na ciki.

Kashi na biyu na “Appassionata” kuma yana cike da irin wannan “wahayi a cikin kai.” Ba kwatsam ba ne wasu bambance-bambancen suna yin sauti a cikin ƙaramin rajista, suna shiga cikin duhun tunani, sannan su hau cikin rajista na sama, suna bayyana ɗumi na bege. Bambancin kiɗan yana nuna rashin kwanciyar hankali na halin jarumi.

Hakanan an rubuta ƙarshen sonatas No. 30 da No. 32 a cikin nau'i na bambancin. Kiɗa na waɗannan sassan yana cike da tunanin mafarki; ba shi da tasiri, amma tunani. Jigogin su suna da nasiha da ruhi da girmamawa; Ba su da matuƙar motsin rai, amma a maimakon haka suna da ban sha'awa, kamar abubuwan tunawa a cikin shekarun da suka gabata. Kowane bambancin yana canza hoton mafarkin wucewa. A cikin zuciyar jarumi akwai ko dai bege, sa'an nan kuma sha'awar yin yaki, yana ba da damar yanke ƙauna, sa'an nan kuma sake dawowa da hoton mafarki.

Fugues a cikin marigayi sonatas na Beethoven

Beethoven ya wadatar da bambance-bambancen sa tare da sabon ka'ida ta hanyar yin magana mai yawa ga abun da ke ciki. Beethoven ya sami ƙwarin gwiwa ta hanyar haɗaɗɗun sautin polyphonic wanda ya ƙara gabatar da shi. Polyphony yana aiki a matsayin wani ɓangare na ci gaba a cikin Sonata No. 28, ƙarshen Sonatas No. 29 da 31.

A cikin shekarun baya na aikinsa na kirkire-kirkire, Beethoven ya zayyana babban ra'ayin falsafar da ke gudana a cikin dukkan ayyukansa: haɗin kai da haɗin kai tsakanin juna. Tunanin rikice-rikice tsakanin nagarta da mugunta, haske da duhu, wanda ya kasance mai haske da ƙarfi a cikin tsakiyar shekaru, an canza shi ta ƙarshen aikinsa zuwa zurfin tunani cewa nasara a cikin gwaji ba ta zo a cikin yaƙin jaruntaka ba, amma ta hanyar sake tunani da ƙarfi na ruhaniya.

Saboda haka, a cikin sonatas na baya ya zo fugue a matsayin kambi na ci gaba mai ban mamaki. A ƙarshe ya gane cewa zai iya zama sakamakon waƙar da ke da ban mamaki da ban tausayi wanda ko da rai ba zai iya ci gaba ba. Fugue shine kawai zaɓi mai yiwuwa. Wannan shine yadda G. Neuhaus yayi magana game da fugue na ƙarshe na Sonata No. 29.

Bayan wahala da girgiza, lokacin da bege na ƙarshe ya ɓace, babu motsin rai ko jin daɗi, kawai ikon tunani ya rage. Sanyi, dalili mai hankali yana kunshe a cikin polyphony. A daya bangaren kuma akwai kira zuwa ga addini da hadin kai da Allah.

Ba zai zama cikakke ba don kawo karshen irin wannan kiɗan tare da rondo mai daɗi ko natsuwa. Wannan zai zama saɓani a fili tare da dukan tunaninsa.

Fugue na ƙarshe na Sonata No. 30 ya kasance cikakkiyar mafarki ga mai wasan kwaikwayo. Yana da girma, mai jigo biyu kuma mai rikitarwa. Ta hanyar ƙirƙirar wannan fugue, mawallafin ya yi ƙoƙarin ƙaddamar da ra'ayin nasarar dalili akan motsin rai. Babu ainihin motsin zuciyar kirki a ciki, ci gaban kiɗan yana da hankali da tunani.

Sonata No. 31 kuma yana ƙarewa da ƙarar sautin murya. Duk da haka, a nan, bayan wani nau'i na fugue na polyphonic kawai, tsarin homophonic na rubutun ya dawo, wanda ke nuna cewa ka'idodin tunani da hankali a cikin rayuwarmu daidai suke.