吳佳凝鋼琴老師

吳老師鋼琴獨奏
L. v. Beethoven Piano Sonata No. 8 in C minor, op. 13 "Pathetique"
I. Grave - Allegro di molto e con brio
II. Adagio cantabile
III. Rondo: Allegro

此曲與 [命運交響曲] 同樣用 C小調寫成，洋溢著戲劇性的悲哀，是極悽美的作品。此曲是貝多芬28、29歲時所作的，年輕人洴流的熱情全凝聚於此 [悲]之中，係貝多芬初期的名曲。由於此曲並非難曲，對於鋼琴學習者而言很有親切感並且容易演奏。據說當時樂譜甫出版即被一些年輕人搶購一空。此首鋼琴奏 鳴曲由作曲者自己附上 [悲愴] 之標題，有具體性標題從此時開始(之後只有第二十六號的 [告別] )，此時貝多芬的前途正充滿了希望，為何要附以此名，實令人百思莫解，故亦成為後世人議論的問題。

第一樂章
C 小調 莊重的、燦爛而快速的快板 (Grave allegro moltoed conbrio) 序奏部4/4 拍子，主部2/2 拍子 奏鳴曲形式。最初的序奏是傾訴沈思的青年如敲打般的悲愴感，進入主部後，難以排遣的氣氛猛烈地快速運轉，尾奏出現開頭的部分，在興奮之中結束此樂章。

第二樂章 降A大調 如歌的慢板(Adagio cantabile) 2/4拍子複合三部形式。在第一樂章的餘韻之中，以祈禱的抒情唱出，這是貝多芬鋼琴音樂之中極出色的一個樂章。

第三樂章
C 小調 快板 (Allegro) 輪旋曲2/2 拍子 輪旋曲形式。此樂章乃古今輪旋曲之佼佼者。主題出現兩次之後的降 A大調對位旋律使輪旋曲的藝術性價值更為提高了。從全體樂章來看，青年所持有的悲哀情緒之[ 悲愴美 ]比深刻的絕望感更顯明。

Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.

Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to that of the spacious second movement of Mozart's sonata.^[3] However, Beethoven's sonata uses a unique motif line throughout, a major difference from Haydn or Mozart’s creation.

Grave – Allegro di molto e con brio

The first movement is in sonata form. It begins with a slow introductory theme, marked Grave. The exposition, marked Allegro di molto con brio, is in 2
2 time (alla breve) in the home key of C minor and features three themes. Theme 1 features an aggressive rocket theme covering two octaves, accompanied with constant tremolo octaves in the left hand. Beethoven then makes use of unorthodox mode-mixture, as he presents the second theme in E-flat minor rather than its customary parallel major. This theme is more lyrical and makes use of grace notes and crossed hands. Theme 3 has modulated to the mediant, E-flat major, and features an Alberti-type figuration for the bass with tremolo. A codetta, with ideas from the opening allegro, closes the section. Some performers of the sonata include the introduction in the exposition repeat though others return to the beginning of the allegro section.

The development section begins in the key of G minor. In this section, Beethoven extends Haydn's compositional practice by returning to the introductory section. After this reappearance of the Grave, the composer generates suspense with an extended dominant preparation.

The recapitulation brings back the themes of the exposition in different keys: themes 1 and 3 are played in the tonic key of C minor, then theme 2 is played in the unexpected key of F minor but then returns to the tonic key. The coda is very dramatic and includes a brief reminder of the Grave before ending with a swift cadence.

Adagio cantabile

The Adagio movement opens with a famous cantabile melody. This theme is played three times, always in A-flat major, separated by two modulating episodes, making it a five-part rondo. The first episode is set in F minor (relative minor of A-flat major), further modulating to E-flat major before returning to the main theme. The second episode begins in A-flat minor and modulates to E major. With the final return of the main theme, the accompaniment becomes richer and takes on the triplet rhythm of the second episode. There is a brief coda. The theme of the second movement is remarkably similar to one of the themes in the second movement of Mozart's Piano Sonata No. 14, K. 457.

Rondo: Allegro

The sonata closes with a cut time movement in C minor. The main theme closely resembles the second theme of the Allegro of the first movement: its melodic pattern is identical for its first four notes, and its rhythmic pattern for the first eight. There is also a modified representation of the melody from the second movement, thus connecting all three movements together. The movement's sonata rondo form includes a coda. The three rondo episodes are in E-flat major, A-flat major, and C major. The movement can be thought as related to Beethoven's Piano Concerto No. 3 in C minor, Op. 37. The common use of sforzando creates a forceful effect.