The history of the creation of Beethoven's "Moonlight Sonata": a brief overview. How Beethoven felt about the title

Today we will get acquainted with piano sonata No. 14, better known as “Moonlight” or “Moonlight Sonata”.

• Page 1:
• Introduction. Popularity phenomenon of this work
• Why was the sonata called “Moonlight” (the myth of Beethoven and the “blind girl”, the real story behind the name)
• General characteristics of the “Moonlight Sonata” (brief description of the work with the opportunity to listen to the performance on video)
• A brief description of each part of the sonata - we comment on the features of all three parts of the work.

Introduction

I welcome everyone who is interested in Beethoven's work! My name is Yuri Vanyan, and I am the editor of the site you are on now. For more than a year now, I have been publishing detailed and sometimes short introductory articles about the most different works great composer.

However, to my shame, the frequency of publication of new articles on our website has dropped significantly due to my personal employment in Lately, which I promise to fix in the near future (I will probably have to involve other authors). But I am even more ashamed that so far this resource has not published a single article about the “calling card” of Beethoven’s work - the famous “Moonlight Sonata”. IN today's episode I will finally try to fill this significant gap.

The phenomenon of popularity of this work

I didn't just call the piece that « business card» composer, because for most people, especially for those who are far from classical music, it is with the “Moonlight Sonata” that the name of one of the most influential composers of all times is primarily associated.

The popularity of this piano sonata has reached incredible heights! Even right now, typing this text, I just asked myself for a second: “What works of Beethoven could eclipse “Lunar” in terms of popularity?” - And you know what’s the funniest thing? I cannot now, in real time, remember at least one such work!

Look for yourself - for April 2018, in the search bar of the Yandex network alone, the phrase “Beethoven” Moonlight Sonata» mentioned in a variety of declensions more 35 thousand once. So that you can roughly understand how big number, below I will present monthly statistics of requests, but for other famous works of the composer (requests were compared in the format “Beethoven + Title of the work”):

• Sonata No. 17— 2,392 requests
• Pathetic Sonata— almost 6000 requests
• Appassionata— 1500 requests...
• Symphony No. 5— about 25,000 requests
• Symphony No. 9— less than 7000 requests
• Heroic Symphony— just over 3000 requests per month

As you can see, the popularity of “Lunar” significantly exceeds the popularity of other, no less outstanding works of Beethoven. Only the famous “Fifth Symphony” came closest to the mark of 35 thousand requests per month. It is worth noting that the popularity of the sonata was already at its height. during the composer's lifetime, which Beethoven himself even complained about to his student, Karl Czerny.

After all, according to Beethoven, among his creations were much more outstanding works, which I personally absolutely agree with. In particular, it remains a mystery to me why, for example, the same “Ninth Symphony” is much less popular on the Internet than the “Moonlight Sonata”.

I wonder what data we will get if we compare the above-mentioned frequency of requests with the most famous works others great composers? Let's check it out now that we've already started:

• Symphony No. 40 (Mozart)- 30,688 requests,
• Requiem (Mozart)- 30,253 requests,
• Hallelujah (Handel)— just over 1000 requests,
• Concerto No. 2 (Rachmaninov)- 11,991 requests,
• Concert No. 1 (Tchaikovsky) - 6 930,
• Chopin's Nocturnes(sum of all combined) - 13,383 requests...

As you can see, in the Russian-speaking audience of Yandex, finding a competitor to “Moonlight Sonata” is very difficult, if at all possible. I think the situation abroad is not much different either!

We can talk endlessly about the popularity of “Lunarium”. Therefore, I promise that this issue will not be the only one, and from time to time we will update the site with new ones interesting details associated with this wonderful work.

Today I will try to tell as succinctly as possible (if possible) what I know about the history of the creation of this work, I will try to dispel some myths associated with the origin of its name, and I will also share recommendations for beginning pianists who want to perform this sonata.

The history of the creation of the Moonlight Sonata. Juliet Guicciardi

In one of the articles I mentioned a letter from November 16, 1801 year, which Beethoven sent to his old friend - Wegeler(more about this episode of the biography:).

In that same letter, the composer complained to Wegeler about dubious and unpleasant treatment methods prescribed to him by his attending physician to prevent hearing loss (let me remind you that Beethoven was not completely deaf by that time, but had long since discovered that he was losing his hearing, and Wegeler, in his In turn, he was a professional doctor and, moreover, one of the first people to whom the young composer confessed to the development of deafness).

Further, in the same letter, Beethoven talks about "sweet and charming girl who he loves and who loves him" . But Beethoven immediately makes it clear that this girl is higher than him in social status, which means he needs "actively act" so that there is an opportunity to marry her.

Under the word "act" I understand, first of all, Beethoven’s desire to overcome developing deafness as quickly as possible and, therefore, significantly improve financial situation due to more intensive creativity and touring. Thus, it seems to me that the composer was trying to achieve marriage with a girl from an aristocratic family.

After all, even despite the young composer’s lack of any title, fame and money could equalize his chances of marrying the young countess in comparison with some potential competitor from a noble family (at least that’s how, in my opinion, he reasoned young composer).

Who is Moonlight Sonata dedicated to?

The girl discussed above was a young countess, by name - the piano sonata “Opus 27, No. 2”, which we now know as “Moonlight”, was dedicated to her.

I'll tell you in a nutshell biographies this girl, although very little is known about her. So, Countess Giulietta Guicciardi was born on November 23, 1782 (and not 1784, as is often mistakenly written) in the town Premysl(at that time he was part of Kingdoms of Galicia and Lodomeria, and is now located in Poland) in the family of an Italian count Francesco Giuseppe Guicciardi And Suzanne Guicciardi.

I don't know about biographical details of childhood and early youth this girl, but it is known that in 1800 Juliet and her family moved from Italian Trieste to Vienna. At that time, Beethoven was in close contact with the young Hungarian count Franz Brunswik and his sisters - Teresa, Josephine And Carolina(Charlotte).

Beethoven loved this family very much, because, despite the high social status and a decent financial condition, the young count and his sisters were not too “spoiled” by the luxury of aristocratic life, but, on the contrary, communicated with the young and far from rich composer on an absolutely equal basis, bypassing any psychological difference in class. And, of course, they all admired the talent of Beethoven, who by that time had already established himself not only as one of the best pianists in Europe, but also quite famous as a composer.

Moreover, Franz Brunswik and his sisters were themselves fond of music. The young count played the cello well, and Beethoven himself taught piano lessons to his older sisters, Teresa and Josephine, and, as far as I know, he did it for free. At the same time, the girls were quite talented pianists - the older sister, Teresa, was especially successful in this. Well, in a few years the composer will start an affair with Josephine, but that’s another story.

We will talk about members of the Brunswick family in separate issues. I mention them here only for the reason that it was through the Brunswick family that the young Countess Giulietta Guicciardi met Beethoven, since Juliet's mother, Susanna Guicciardi ( maiden name Brunswick), was the aunt of Franz and his siblings. Well, Juliet, therefore, was their cousin.

In general, upon arriving in Vienna, the charming Juliet quickly joined this company. The close connection of her relatives with Beethoven, their sincere friendship and unconditional recognition of the talent of the young composer in this family one way or another contributed to Juliet’s acquaintance with Ludwig.

However, unfortunately, I cannot name the exact date this acquaintance. Western sources usually write that the composer met the young countess at the end of 1801, but, in my opinion, this is not entirely true. At least, I know for sure that in the late spring of 1800, Ludwig spent time on the Brunswick estate. The point is that Juliet was also in this place at that time, and, therefore, by that time the young people should have, if not been friends, then at least met. Moreover, already in June the girl moved to Vienna, and, given her close connection with Beethoven’s friends, I very much doubt that the young people really did not meet until 1801.

Other events date back to the end of 1801 - most likely, it was at this time that Juliet takes his first piano lessons from Beethoven, for which, as is known, the teacher did not take money. Beethoven took any attempts to pay for music lessons as a personal insult. It is known that one day Juliet's mother, Suzanne Guicciardi, sent Ludwig shirts as a gift. Beethoven, taking this gift as payment for his daughter’s education (perhaps this was so), wrote a rather emotional letter to his “potential mother-in-law” (January 23, 1802), in which he expressed his indignation and resentment, and made it clear that he was engaged with Juliet not at all for the sake of material reward, and also asked the countess not to do such things again, otherwise he "won't appear in their house again" .

As various biographers note, Beethoven’s new student wouldStro attracts him with her beauty, charm and talent (let me remind you that beautiful and talented pianists were one of Beethoven’s most pronounced weaknesses). At the same time, withit is read that this sympathy was mutual, and later turned into a fairly strong romance. It is worth noting that Juliet was much younger than Beethoven - at the time of sending the above-mentioned letter to Wegeler (let me remind you, it was November 16, 1801) she was only seventeen years old. However, apparently, the girl was not particularly worried about the age difference (Beethoven was 30 at the time).

Has Juliet and Ludwig's relationship progressed to a marriage proposal? - Most biographers believe that this really happened, citing mainly the famous Beethoven scholar - Alexandra Wheelock Thayer. I quote the latter (the translation is not exact, but approximate):

A careful analysis and comparison of both published data and personal habits and hints received during several years of stay in Vienna leads to the opinion that Beethoven nevertheless decided to propose marriage to Countess Julia, and that she did not object, and that one parent agreed to this marriage, but the other parent, probably the father, expressed his refusal.

(A.W. Thayer, Part 1, page 292)

In the quote I marked the word in red opinion, since Thayer himself emphasized this and emphasized in parentheses that this note is not a fact based on competent evidence, but his personal conclusion obtained through the analysis of a variety of data. But the fact is that it was precisely this opinion (which I am in no way trying to dispute) of such an authoritative Beethoven scholar as Thayer, which became the most popular in the works of other biographers.

Thayer further emphasized that the refusal of the second parent (father) was primarily due to Beethoven's lack of any rank (probably means “title”), status, permanent position and so on. In principle, if Thayer's assumption is correct, then Juliet's father can be understood! After all, the Guicciardi family, despite the count's title, was far from rich, and the pragmatism of Juliet's father did not allow him to give his beautiful daughter into the hands of a poor musician, whose constant income at that time was only a patronage allowance of 600 florins a year (and that, thanks to Prince Likhnovsky).

One way or another, even if Thayer’s assumption was inaccurate (which I doubt, however), and the matter did not come to a marriage proposal, then the romance of Ludwig and Juliet was still not destined to move to another level.

If in the summer of 1801 young people had a great time in Krompachy * , and in the fall Beethoven sends that very letter in which he tells his old friend about his feelings and shares his dream of marriage, then already in 1802 the romantic relationship between the composer and the young countess noticeably fades away (and, first of all, on the part of the girl, for the composer is still was in love with her). * Krompachy is a small town in what is now Slovakia, and at that time it was part of Hungary. The Brunswicks' Hungarian estate was located there, including the gazebo where Beethoven is believed to have worked on the Moonlight Sonata.

The turning point in these relations was the appearance of a third person in them - the young count Wenzel Robert Gallenberg (December 28, 1783 - March 13, 1839), an Austrian amateur composer who, despite the lack of any impressive fortune, was able to attract the attention of the young and frivolous Juliet and, thereby, became a competitor to Beethoven, gradually pushing him into the background.

Beethoven will never forgive Juliet for this betrayal. The girl he was crazy about, and for whom he lived, not only preferred another man to him, but also preferred Gallenberg as a composer.

For Beethoven this was a double blow, because Gallenberg's talent as a composer was so mediocre that it was openly reported in the Viennese press. And even studying with such a wonderful teacher as Albrechtsberger (whom, let me remind you, Beethoven himself had previously studied with), did not contribute to the development of Gallenberg’s musical thinkingniya, as evidenced by the obvious theft (plagiarism) by the young count of musical techniques from more famous composers.

As a result, around this time the publishing house Giovanni Cappi, finally publishes the sonata “Opus 27, No. 2” with a dedication to Giulietta Guicciardi.

It is important to note that Beethoven composed this work completely not for Juliet. Previously, the composer had to dedicate a completely different work to this girl (Rondo “G Major”, Opus 51 No. 2), a work much brighter and more cheerful. However, for technical reasons (completely unrelated to the relationship between Juliet and Ludwig), that work had to be dedicated to Princess Likhnovskaya.

Well, now, when “Juliet’s turn has come” again, this time Beethoven dedicates to the girl not a cheerful work at all (in memory of the happy summer of 1801, spent together in Hungary), but that same “C-sharp-minor” sonata, the first part of which has a clearly expressed mourning character(yes, exactly “mourning”, but not “romantic”, as many people think - we will talk about this in more detail on the second page).

In conclusion, it should be noted that the relationship between Juliet and Count Gallenberg reached the point of legal marriage, which took place on November 3, 1803, and in the spring of 1806 the couple moved to Italy (more precisely, to Naples), where Gallenberg continued to compose his music and even what - for the time being, he staged ballets in the theater at the court of Joseph Bonaparte (the elder brother of that same Napoleon, at that time he was the king of Naples, and later became the king of Spain).

In 1821, the famous opera impresario Domenico Barbaia, who directed the above-mentioned theater, became the manager of the famous Vienna theater with an unpronounceable name "Kerntnertor"(it was there that the final edition of Beethoven’s opera Fidelio was staged, and the premiere of the Ninth Symphony took place) and, apparently, “dragged along” Gallenberg, who got a job in the administration of this theater and became responsible for the music archives, Well, from January 1829 (that is, after Beethoven’s death), he himself rented the Kärntnertor Theater. However, by May of the following year the contract was terminated due to Gallenberg's financial difficulties.

There is evidence that Juliet, who moved to Vienna with her husband, who had serious financial problems, dared to ask Beethoven for financial help. The latter, surprisingly, helped her with a considerable sum of 500 florins, although he himself was forced to borrow this money from another rich man (I can’t say who exactly it was). Beethoven himself let slip about this in a dialogue with Anton Schindler. Beethoven also noted that Juliet asked him for reconciliation, but he did not forgive her.

Why was the sonata called “Moonlight”

As the name was popularized and finally consolidated in German society "Moonlight Sonata" people came up with various myths and romantic stories about the origin of both this name and the work itself.

Unfortunately, even in our smart age On the Internet, these myths can sometimes be interpreted as real sources that answer the questions of certain network users.

Due to the technical and regulatory features of using the network, we cannot filter “incorrect” information from the Internet that misleads readers (probably this is for the best, since freedom of opinion is an important part of a modern democratic society) and find only “reliable information " Therefore, we will just try to add to the Internet a little of that very “reliable” information, which, I hope, will help at least a few readers to separate myths from real facts.

The most popular myth on the history of the origin of the “Moonlight Sonata” (both the work and its title) is the good old anecdote, according to which Beethoven allegedly composed this sonata, being impressed after playing for a blind girl in a room consecrated moonlight.

I will not copy the full text of the story - you can find it on the Internet. I am only concerned about one thing, namely the fear that many people can (and do) perceive this anecdote as real story the emergence of a sonata!

After all, this seemingly harmless fictional story, popular in the 19th century, never bothered me until I began to notice it on various Internet resources, posted as an illustration supposedly true history origin of "Moonlight Sonata". I have also heard rumors that this story is used in the “collection of expositions” in the Russian language school curriculum - which means, given that such beautiful legend can easily be imprinted in the minds of children who may accept this myth as truth, we simply have to add a little authenticity and note that this story is fictional.

Let me clarify: I have nothing against this story, which, in my opinion, is very nice. However, if in the 19th century this anecdote was the subject of only folklore and artistic references (for example, the picture below shows the very first version of this myth, where her brother, a shoemaker, was in the room with the composer and the blind girl), now many people consider it real biographical fact, and I cannot allow this.So I just want to point out that famous story about Beethoven and the blind girl is, although cute, but still fictional.

To verify this, it is enough to study any manual on the biography of Beethoven and make sure that the composer composed this sonata at the age of thirty, while in Hungary (probably partly in Vienna), and in the above-mentioned anecdote the action takes place in Bonn, a city that the composer finally left at the age of 21, when there was no talk of any “Moonlight Sonata” (at that time Beethoven had not yet written even the “first” piano sonata, let alone the “fourteenth”).

How did Beethoven feel about the title?

Another myth associated with the name of the piano Sonata No. 14 is the positive or negative attitude of Beethoven himself towards the name “Moonlight Sonata”.

I’ll explain what I’m talking about: several times, while studying Western forums, I came across discussions where one user asked a question like the following: “How did the composer feel about the title “Moonlight Sonata.” At the same time, other participants who answered this question, as a rule, were divided into two camps.

• The participants of the “first” answered that Beethoven did not like this title, in contrast, for example, to the same “Pathetique” sonata.
• Participants in the “second camp” argued that Beethoven could not have related to the name “Moonlight Sonata” or, moreover, “Moonlight Sonata”, since these names originated a few years after death composer - in 1832 year (the composer died in 1827). At the same time, they noted that this work, indeed, was quite popular during Beethoven’s lifetime (the composer didn’t even like it), but they were talking about the work itself, and not about its title, which could not have existed during the composer’s lifetime.

I would like to note on my own that the participants in the “second camp” are closest to the truth, but there are also important nuance, which I will talk about in the next paragraph.

Who came up with the name?

The “nuance” mentioned above is the fact that in fact the first connection between the movement of the “first movement” of the sonata and moonlight was still made during Beethoven’s lifetime, namely in 1823, and not in 1832, as is usually said.

It's about about the work "Theodore: a musical study", where at one point the author of this short story compares the first movement (adagio) of the sonata with the following picture:

By “lake” in the screenshot above we mean lake Lucerne(aka “Firvaldstetskoye”, located in Switzerland), but I borrowed the quote itself from Larisa Kirillina (first volume, page 231), who, in turn, refers to Grundman (pages 53-54).

The description of the Relshtab cited above certainly gave first prerequisites to the popularization of associations of the first movement of the sonata with lunar landscapes. However, in fairness, it should be noted that these associations did not initially produce a significant take-up in society, and, as noted above, During Beethoven’s lifetime this sonata was still not spoken of as “Moonlight”.

Most rapidly this connection between “adagio” and moonlight began to take hold in society as early as 1852, when the words of Relshtab were suddenly remembered by the famous music critic Wilhelm von Lenz(who referred to the same associations with “lunar landscapes on the lake”, but, apparently, mistakenly gave the date not 1823, but 1832), after which in musical society went new wave propaganda of Relshtab associations and, as a consequence, the gradual formation of the now famous name.

Already in 1860, Lenz himself used the term “Moonlight Sonata”, after which this name was finally fixed and used both in the press and in folklore, and, as a result, in society.

Brief description of “Moonlight Sonata”

And now, knowing the history of the creation of the work and the origin of its name, you can finally familiarize yourself with it briefly. I warn you right away: carry out a volumetric musical analysis we won’t, because I still won’t be able to do it better than professional musicologists, whose detailed analyzes You can find this work on the Internet (Goldenweiser, Kremlev, Kirillina, Bobrovsky and others).

I will only give you the opportunity to listen to this sonata performed by professional pianists, and along the way I will also give my brief comments and advice for beginning pianists who want to perform this sonata. I note that I am not a professional pianist, but I think that for beginners a couple useful tips I can give it.

So, as noted earlier, this sonata was published under the catalog title "Opus 27, No. 2", and among the thirty-two piano sonatas it is the “fourteenth”. Let me remind you that the “thirteenth” piano sonata (Opus 27, No. 1) was also published under the same opus.

Both of these sonatas share a freer form compared to most other classical sonatas, as the composer’s author’s note openly indicates to us. "Sonata in the manner of fantasy" on the title pages of both sonatas.

Sonata No. 14 consists of three movements:

1. Slow part "Adagio sostenuto" in C sharp minor
2. Calm "Allegretto" minuet character
3. Stormy and swift « "Presto agitato"

Oddly enough, in my opinion, sonata No. 13 deviates much more from the classical sonata form than “Moonlight”. Moreover, even the twelfth sonata (opus 26), where the first movement uses theme and variations, I consider much more revolutionary in terms of form, although this work did not receive the mark “in the manner of fantasy.”

For clarification, let's remember what we talked about in the episode about "". I quote:

“The formula for the structure of Beethoven’s first four-movement sonatas was, as a rule, based on the following template:

• Part 1 - Quick “Allegro”;
• Part 2 - Slow Motion;
• Movement 3 - Minuet or Scherzo;
• Part 4 - The ending is usually quick."

Now imagine what will happen if we cut off the first part of this template and start, as it were, right away with the second. In this case, we will end up with the following three-part sonata template:

• Part 1 - Slow Motion;
• Movement 2 - Minuet or Scherzo;
• Part 3 - The ending is usually quick.

Doesn't remind you of anything? As you can see, the form of the Moonlight Sonata is actually not that revolutionary and is in fact very similar to the form of Beethoven's very first sonatas.

It just feels as if Beethoven, while composing this work, simply decided: “Why don’t I start the sonata right away with the second movement?” and turned this idea into reality - it looks exactly like this (at least in my opinion).

Listen to recordings

Now, finally, I suggest you take a closer look at the work. To begin with, I recommend listening to “audio recordings” of the performance of Sonata No. 14 by professional pianists.

Part 1(performed by Evgeny Kisin):

Part 2(performed by Wilhelm Kempff):

Part 3(performed by Yenyo Yando):

Important!

On next page we will look at each part of the “Moonlight Sonata”, where I will give my comments along the way.

The story of the creation of Beethoven's Moonlight Sonata is closely connected with his biography, as well as with hearing loss. While writing his famous work, he experienced serious health problems, although he was at the peak of his popularity. He was a welcome guest in aristocratic salons, worked a lot and was considered a fashionable musician. He already had many works to his credit, including sonatas. However, it is the essay in question that is considered one of the most successful in his work.

Meet Giulietta Guicciardi

The history of the creation of Beethoven’s “Moonlight Sonata” is directly related to this woman, since it was to her that he dedicated his new creation. She was a countess and at the time she met famous composer was at a very young age.

Together with her cousins, the girl began to take lessons from him and captivated her teacher with her cheerfulness, good nature and sociability. Beethoven fell in love with her and dreamed of marrying the young beauty. This new feeling caused a creative surge in him, and he enthusiastically began working on the work, which has now acquired cult status.

Gap

The history of the creation of Beethoven's Moonlight Sonata, in fact, repeats all the vicissitudes of this personal drama of the composer. Juliet loved her teacher, and at first it seemed that things were heading towards marriage. However, the young coquette subsequently chose a prominent count over the poor musician, whom she eventually married. This was a heavy blow for the composer, which was reflected in the second part of the work in question. It conveys pain, anger and despair, which contrasts sharply with the serene sound of the first movement. The author's depression was also aggravated by hearing loss.

Disease

The history of the creation of Beethoven's Moonlight Sonata is as dramatic as the fate of its author. He experienced serious problems due to inflammation of the auditory nerve, which led to almost complete hearing loss. He was forced to stand close to the stage in order to hear the sounds. This could not but affect his work.

Beethoven was famous for his ability to accurately select the right notes, choosing the necessary musical shades and tonality from the rich palette of the orchestra. Now it was becoming more and more difficult for him to work every day. The composer's gloomy mood was also reflected in the work under consideration, in the second part of which there is a motif of a rebellious impulse that seems to find no outlet. Undoubtedly, this theme is connected with the torment that the composer experienced when writing the melody.

Name

The history of the creation of Beethoven's Moonlight Sonata is of great importance for understanding the composer's work. Briefly about this event, we can say the following: it testifies to the impressionability of the composer, as well as how close he took this personal tragedy to his heart. Therefore, the second part of the essay is written in an angry tone, which is why many believe that the title does not correspond to the content.

However, it reminded the composer’s friend, poet and music critic Ludwig Relstab, of the image of a lake at night under moonlight. The second version of the origin of the name is due to the fact that at the time in question there was a prevailing fashion for everything that was in one way or another connected with the moon, so contemporaries willingly accepted this beautiful epithet.

Further fate

The history of the creation of Beethoven's Moonlight Sonata should be briefly considered in the context of the composer's biography, since unrequited love influenced his entire subsequent life. After breaking up with Juliet, he left Vienna and moved to the city, where he wrote his famous will. In it he poured out those bitter feelings that were reflected in his work. The composer wrote that, despite his apparent gloom and gloom, he was predisposed to kindness and tenderness. He also complained about his deafness.

The history of the creation of Beethoven’s “Moonlight Sonata” 14 helps in many ways to understand further events in his destiny. Out of despair, he almost decided to commit suicide, but in the end he pulled himself together and, being almost completely deaf, wrote his most famous works. A few years later, the lovers met again. It is significant that Juliet was the first to come to the composer.

She recalled her happy youth, complained about poverty and asked for money. Beethoven lent her a significant amount, but asked her not to meet with him again. In 1826, the maestro became seriously ill and suffered for several months, but not so much from physical pain as from the consciousness that he could not work. IN next year he died, and after his death a tender letter was found dedicated to Juliet, proving that the great musician retained a feeling of love for the woman who inspired him to create his most famous composition. So, one of the most prominent representatives was Ludwig Van Beethoven. "Moonlight Sonata", the history of which was briefly revealed in this essay, is still performed on best scenes Worldwide.

L. Beethoven “Moonlight Sonata”

Today there is hardly a person who has never heard “Moonlight Sonata” by L.V. Beethoven, because this is one of the most famous and beloved works in history musical culture. Such a beautiful and poetic name was given to the work by music critic Ludwig Relstab after the composer’s death. And to be more precise, not the entire work, but only its first part.

History of creation

If about something else most popular work Beethoven's bagatelles cause difficulties; when trying to find out who exactly it was dedicated to, then everything is extremely simple. Piano Sonata No. 14 in C sharp minor, written in 1800-1801, was dedicated to Giulietta Guicciardi. The maestro was in love with her and dreamed of marriage.

It is worth noting that during this period the composer began to increasingly experience hearing impairment, but he was still popular in Vienna and continued to give lessons in aristocratic circles. He first wrote about this girl, his student, “who loves me and is loved by me,” in November 1801 to Franz Wegeler. 17-year-old Countess Giulietta Guicciardi and Beethoven met at the end of 1800. Beethoven taught her the art of music, and did not even take money for it. In gratitude, the girl embroidered shirts for him. It seemed that happiness awaited them, because their feelings were mutual. However, Beethoven’s plans were not destined to come true: the young countess preferred him to a more noble man, the composer Wenzel Gallenberg. Loss of a beloved woman, increasing deafness, collapsed creative plans- all this fell on the unfortunate Beethoven. And the sonata, which the composer began to write in an atmosphere of inspiring happiness and trembling hope, ended with anger and rage.

It is known that it was in 1802 that the composer wrote the very “Heiligenstadt Testament”. This document brings together desperate thoughts about impending deafness and unrequited, deceived love.

Surprisingly, the name “Lunar” was firmly attached to the sonata thanks to the Berlin poet, who compared the first part of the work with beautiful landscape Lake Firvaldstätt on a moonlit night. It is curious, but many composers music critics opposed this name. A. Rubinstein noted that the first part of the sonata is deeply tragic and most likely shows the sky with thick clouds, but not moonlight, which in theory should express dreams and tenderness. Only the second part of the work can, with a stretch, be called moonlight. The critic Alexander Maikapar said that the sonata does not have that same “lunar glow” that Relshtab spoke about. Moreover, he agreed with Hector Berlioz’s statement that the first part most resembles a “sunny day” rather than night. Despite the protests of critics, it was this name that stuck with the work.

The composer himself gave his work the title “sonata in the spirit of fantasy.” This is due to the fact that the usual form for this work was broken and the parts changed their sequence. Instead of the usual “fast-slow-fast”, the sonata develops from a slow part to a more mobile one.

Interesting Facts

• It is known that only two titles of Beethoven’s sonatas belong to the composer himself – “Pathetique” and “Farewell”.

• The author himself noted that the first part of “Lunar” requires the most delicate performance from the musician.
• The second part of the sonata is usually compared to the dances of the elves from Shakespeare's A Midsummer Night's Dream.
• All three parts of the sonata are united by the finest motivic work: the second motive main topic from the first part sounds in the first theme of the second part. In addition, many of the most expressive elements from the first part were reflected and developed in the third.
• It is curious that there are many options for the plot interpretation of the sonata. The image of the Relshtab received the greatest popularity.
• Some researchers of his work believe that in this work Beethoven anticipated the later work of Romantic composers and call the sonata the first nocturne.
• The famous composer F. Liszt called the second part of the sonata “A flower among the abyss.” Indeed, some listeners think that the introduction is very similar to a barely opened bud, and the second part is the flowering itself.

• In addition, one American jewelry company has released a stunning necklace made of natural pearls, called the “Moonlight Sonata”. How do you like coffee with this? poetic name? A well-known foreign company offers it to its visitors. And finally, even animals are sometimes given such nicknames. Thus, a stallion bred in America received such an unusual and beautiful nickname as “Moonlight Sonata”.
• The name “Moonlight Sonata” was so popular that it was sometimes applied to things completely remote from music. For example, this phrase, familiar and familiar to every musician, was the code word for the air raid in 1945 carried out on Coventry (England) by the German invaders.

In the “Moonlight” Sonata, all the features of composition and dramaturgy depend on the poetic intent. At the center of the work emotional drama, under the influence of which the mood changes from mournful self-absorption, thoughts constrained by sadness, to violent activity. It is in the finale that that same open conflict arises; in fact, to show it, it was necessary to rearrange parts in order to enhance the effect and drama.

The first part is lyrical, it is completely focused on the feelings and thoughts of the composer. Researchers note that the manner in which Beethoven reveals this tragic image brings this part of the sonata closer to Bach’s chorale preludes. Listen to the first part, what image did Beethoven want to convey to the public? Of course, the lyrics, but they are not light, but slightly tinged with sorrow. Maybe these are the composer’s thoughts about his unfulfilled feelings? It’s as if listeners are momentarily immersed in another person’s dream world.

The first part is presented in a prelude-improvisational manner. It is noteworthy that in this entire part only one image dominates, but it is so strong and laconic that it does not require any explanation, only concentration on itself. The main melody can be called sharply expressive. It may seem that it is quite simple, but it is not. The melody is complex in intonation. It is noteworthy that this version of the first part is very different from all his other first parts, since there are no sharp contrasts, transitions, only a calm and leisurely flow of thought.

However, let’s return to the image of the first part; its mournful detachment is only a temporary state. Incredibly intense harmonic movement, renewal of the melody itself speaks of active inner life. How could Beethoven be in a state of grief and reminisce for so long? The rebellious spirit must still make itself felt and throw out all the raging feelings outward.

The next part is quite small and is built on light intonations, as well as the play of light and shadow. What's behind this music? Perhaps the composer wanted to talk about the changes that took place in his life thanks to meeting a beautiful girl. Without a doubt, during this period of true love, sincere and bright, the composer was happy. But this happiness did not last long at all, because the second part of the sonata is perceived as a short respite in order to enhance the effect of the finale, which burst in with all its storm of feelings. It is in this part that the intensity of emotions is incredibly high. It is noteworthy that the thematic material of the finale is indirectly connected with the first part. What emotions does this music evoke? Of course, there is no more suffering and sorrow here. This is an explosion of anger that covers all other emotions and feelings. Only at the very end, in the coda, all the drama experienced is pushed deeper into the depths by an incredible effort of will. And this is already very similar to Beethoven himself. In a swift, passionate impulse, menacing, plaintive, excited intonations rush through. The whole range of emotions human soul who experienced such a severe shock. It’s safe to say that a real drama is unfolding before the listeners.

Interpretations

Throughout its existence, the sonata has always aroused constant delight not only among listeners, but also among performers. She was highly valued by such famous musicians as Chopin, Liszt, Berlioz. Many music critics characterize the sonata as “one of the most inspired”, possessing “the rarest and most beautiful of privileges - to please the initiated and the profane.” It is not surprising that throughout its existence, many interpretations and unusual performances have appeared.

So, famous guitarist Marcel Robinson created the arrangement for guitar. Glenn Miller's arrangement for jazz orchestra gained great popularity.

“Moonlight Sonata” in a modern arrangement by Glenn Miller (listen)

Moreover, the 14th sonata entered the Russian fiction thanks to Leo Tolstoy (“ Family happiness"). It was studied by such famous critics, like Stasov and Serov. Romain Rolland also dedicated many inspired statements to her while studying Beethoven's work. What do you think of the representation of the sonata in sculpture? This also turned out to be possible thanks to the work of Paul Bloch, who presented his marble sculpture with the same name. The work was also reflected in painting, thanks to the work of Ralph Harris Houston and his painting “Moonlight Sonata”.

Beethoven's "Moonlight Sonata" is a work that has amazed the senses of mankind for more than two hundred years. What is the secret of popularity and unfading interest in this musical composition? Perhaps in the mood, in the feelings that a genius puts into his brainchild. And which, even through the notes, touches the soul of every listener.

The story of the creation of “Moonlight Sonata” is tragic, full of emotions and drama.

The appearance of "Moonlight Sonata"

The most famous composition appeared to the world in 1801. On the one hand, for the composer these times are the time of creative dawn: his musical creations are gaining more and more popularity, Beethoven’s talent is appreciated by the public, he is a desired guest of famous aristocrats. But with a cheerful appearance, happy person were tormented by deep emotions. The composer begins to lose his hearing. For a person who previously had amazingly subtle and accurate hearing, this was a huge shock. No medical treatment could save the musical genius from unbearable tinnitus. Ludwig Van Beethoven tries not to upset his loved ones, hides his problem from them, and avoids public events.

But in this difficult time, the composer’s life will be filled bright colors young student Juliet Guicciardi. Being in love with music, the girl played the piano beautifully. Beethoven could not resist the charm of the young beauty, her good nature - his heart was filled with love. And along with this great feeling, the taste of life returned. The composer goes out into the world again and again feels the beauty and joy of the world around him. Inspired by love, Beethoven begins work on an amazing sonata called “Sonata in the Spirit of Fantasy.”

But the composer's dreams of marriage, family life failed. Young frivolous Juliet turns on love relationship with Count Robert Gallenberg. The sonata, inspired by happiness, was completed by Beethoven in a state of deep melancholy, sadness and anger. The life of a genius after his beloved's betrayal has lost all taste, his heart is completely broken.

But despite this, the feelings of love, grief, longing from parting and despair from the unbearable physical suffering associated with the disease gave rise to an unforgettable work of art.

Why "Moonlight Sonata"?

The name "Moonlight Sonata" is famous musical composition acquired thanks to the composer's friend Ludwig Relshtab. The melody of the sonata inspired him with a picture of a lake with a quiet surface and a boat sailing under the languid light of the moon.

In the extensive repertoire of the world musical classics it would be difficult to find more famous essay than Beethoven's Moonlight Sonata. You don’t have to be a musician, or even a big fan of classical music, to hear its first sounds and instantly recognize and easily name both the work and the author. Experience shows that in the case of, for example, the Fifth Symphony of the same composer or the Fortieth Symphony of Mozart, the music of which is no less familiar to everyone, compiling the correct combination of the author’s surname, the name “symphony” and its serial number is already difficult. And so it is with most works of popular classics.. One clarification, however, is required: for the inexperienced listener, the Moonlight Sonata is exhausted with recognizable music. In fact, this is not the entire work, but only its first part. As befits a classical sonata Sonata- genre instrumental music(sonare from Italian - “to sound”, “to make a sound using an instrument”). To the era of classicism (second half of the 18th - early XIX century) the sonata was developed as a work for piano or for two instruments, one of which is piano (sonatas for violin and piano, cello and piano, flute and piano, etc.). Consists of three or four parts, contrasting in tempo and character of the music., it also has a second and a third. So, while enjoying the recording of the Moonlight Sonata, it is worth listening to not one, but three tracks - only then will we know the “end of the story” and be able to appreciate the entire composition.

First, let's set ourselves a modest task. Focusing on the well-known first part, let's try to understand what this exciting music that makes you come back to yourself hides within itself.

The Moonlight Sonata was written and published in 1801 and is among the works that open in musical art of the 19th century century Becoming popular immediately after its appearance, this composition gave rise to many interpretations during the composer’s lifetime. The dedication of the sonata, recorded on the title page, to Giulietta Guicciardi, a young aristocrat, a student of Beethoven, with whom the musician in love dreamed in vain during this period, encouraged the audience to look for an expression of love experiences in the work. About a quarter of a century later, when european art turned out to be enveloped in romantic longing, the composer’s contemporary, the writer Ludwig Relstab, compared the sonata with a picture of a moonlit night on Lake Firvaldstätt, describing this night landscape in the short story “Theodore” (1823) “The surface of the lake is illuminated by the flickering radiance of the moon; the wave hits dully dark shore; gloomy mountains covered with forest separate it from the world sacred place; swans, like spirits, swim by with a rustling splash, and from the ruins the mysterious sounds of an aeolian harp are heard, plaintively singing about passionate and unrequited love.” Quote according to L.V. Kirillin. Beethoven. Life and art. In 2 volumes. T. 1. M., 2009.. It was thanks to the Relshtab behind the work, famous professional musicians like sonata No. 14, or even more precisely, sonata in C sharp minor, opus 27, no. 2, stuck poetic definition“Lunar” (Beethoven did not give his work such a name). In the text of Relshtab, which seems to have concentrated all the attributes of a romantic landscape (night, moon, lake, swans, mountains, ruins), the motif of “passionate unrequited love": shaken by the wind, the strings of an aeolian harp sing plaintively about her, filling the entire space of the mystical night with their mysterious sounds In this interpretation and with its new name, the first part of the sonata becomes one of the first examples of the piano nocturne, anticipating the flowering of this genre in the work of composer-pianists romantic era, especially Frederic Chopin. Nocturne (nocturne from French - “night”) - in music of the XIX century, a small piano piece of a lyrical nature, a “night song,” usually based on a combination of a melodious lyrical melody with accompaniment that conveys the atmosphere of a night landscape..

Having mentioned two very known variants interpretations of the content of the sonata, which are suggested by verbal sources (the author’s dedication to Juliet Guicciardi, Relshtab’s definition of “Lunar”), let us now turn to the expressive elements contained in the music itself, and try to read and interpret the musical text.

Have you ever thought that the sounds by which the whole world recognizes the Moonlight Sonata are not a melody, but an accompaniment? When lecturing about music to non-professional audiences, I sometimes amuse those present with a simple experiment: I ask them to recognize the piece by playing not the accompaniment, but the melody of the Moonlight Sonata. Out of 25-30 people without accompaniment, sometimes two or three recognize the sonata, sometimes no one. And - surprise, laughter, joy of recognition when you combine the melody with the accompaniment.? Melody - it would seem main element musical speech, at least in the classical-romantic tradition (avant-garde music trends of the 20th century do not count) - does not appear immediately in the Moonlight Sonata: this happens in romances and songs, when the sound of an instrument precedes the singer’s introduction. But when the melody prepared in this way finally appears, our attention is completely focused on it. Now let’s try to remember (maybe even sing) this melody. Surprisingly, we will not find any melodic beauty in it (various turns, leaps at wide intervals or smooth progressive movement). The melody of the Moonlight Sonata is constrained, squeezed into a narrow range, hardly makes its way, is not sung at all and only sometimes breathes a little more freely. Its beginning is especially significant. For some time the melody cannot break away from the original sound: before it moves even a little, it is repeated six times. But it is precisely this six-fold repetition that reveals the meaning of another expressive element - rhythm. The first six sounds of the melody reproduce a recognizable rhythmic formula twice - this is the rhythm of a funeral march.

Throughout the sonata, the initial rhythmic formula will return repeatedly, with the persistence of thought that has taken possession of the hero’s entire being. In code Code(coda from Italian - “tail”) is the final section of the work. In the first part, the original motive will finally establish itself as the main musical idea, repeating itself again and again in a gloomy low register: the validity of associations with the thought of death leaves no doubt.

Returning to the beginning of the melody and following its gradual development, we discover another essential element. This is a motive of four closely related, as if crossed sounds, pronounced twice as a tense exclamation and emphasized by dissonance in the accompaniment. Listeners of the 19th century, and even more so today This melodic turn is not as familiar as the rhythm of a funeral march. However, in church music of the Baroque era (in German culture represented primarily by the genius of Bach, whose works Beethoven knew from childhood) he was the most important musical symbol. This is one of the variants of the motif of the Cross - a symbol of the dying sufferings of Jesus.

Those who are familiar with music theory will be interested to learn about one more circumstance that confirms that our guesses about the content of the first part of the Moonlight Sonata are correct. For his 14th sonata, Beethoven chose the key of C sharp minor, which is not often used in music. This key has four sharps. In German, “sharp” (a sign of raising the sound by a semitone) and “cross” are denoted by one word - Kreuz, and in the outline of the sharp there is a similarity with a cross - ♯. The fact that there are four sharps here further enhances the passionate symbolism.

Let us make a reservation again: work with such meanings was inherent in church music of the Baroque era, and Beethoven’s sonata is a secular work and was written in a different time. However, even during the period of classicism, tonalities remained tied to a certain range of content, as evidenced by musical treatises contemporary to Beethoven. As a rule, the characteristics given to tonalities in such treatises recorded the moods characteristic of the art of the New Age, but did not break ties with the associations recorded in the previous era. Thus, one of Beethoven’s older contemporaries, composer and theorist Justin Heinrich Knecht, believed that C-sharp minor sounds “with an expression of despair.” However, Beethoven, when composing the first part of the sonata, as we see, was not satisfied with a generalized idea of ​​​​the nature of tonality. The composer felt the need to turn directly to the attributes of a long-standing musical tradition (the motif of the Cross), which indicates his focus on extremely serious themes - the Cross (as a destiny), suffering, death.

Now let's turn to the beginning of the Moonlight Sonata - to those very familiar sounds that attract our attention even before the melody appears. The accompaniment line consists of continuously repeating three-note figures, resonating with deep organ basses. The initial prototype of this sound is the plucking of strings (lyre, harp, lute, guitar), the birth of music, listening to it. It is easy to feel how the non-stop smooth movement (from the beginning to the end of the first movement of the sonata it is not interrupted for a moment) creates a meditative, almost hypnotic state of detachment from everything external, and the slowly, gradually descending bass enhances the effect of withdrawal into oneself. Returning to the picture painted in Relshtab’s short story, let us recall once again the image of the Aeolian harp: in the sounds produced by the strings only due to the blowing of the wind, mystically minded listeners often tried to grasp the secret, prophetic, fateful meaning.

Theater researchers music XVIII century, a type of accompaniment reminiscent of the beginning of the Moonlight Sonata is also known as ombra (from Italian - “shadow”). For many decades, in opera performances, such sounds accompanied the appearance of spirits, ghosts, and mysterious messengers. the afterlife, more broadly - reflections on death. It is reliably known that when creating the sonata, Beethoven was inspired by a very specific opera scene. In the sketch notebook, where the first sketches of the future masterpiece were recorded, the composer wrote out a fragment from Mozart’s opera “Don Giovanni”. It's short but very important episode- death of the Commander, wounded during a duel with Don Juan. In addition to the characters mentioned, Don Giovanni's servant Leporello participates in the scene, so that a terzetto is formed. The characters sing at the same time, but each about their own: the Commander says goodbye to life, Don Giovanni is full of remorse, the shocked Leporello abruptly comments on what is happening. Each of the characters not only has its own text, but also its own melody. Their remarks are united into a single whole by the sound of the orchestra, which not only accompanies the singers, but, stopping the external action, fixes the viewer’s attention on the moment when life is balancing on the brink of oblivion: measured, “dripping” sounds count down the last moments separating the Commander from death. The end of the episode is accompanied by the remarks "[The Commander] is dying" and "The moon is completely hidden behind the clouds." Beethoven will repeat the sound of the orchestra from this Mozart scene at the beginning of the Moonlight Sonata almost literally.

There are more than enough analogies. But is it possible to understand why the composer, who had barely crossed the threshold of his 30th birthday in 1801, was so deeply and truly concerned about the theme of death? The answer to this question is contained in a document whose text is no less poignant than the music of the Moonlight Sonata. We are talking about the so-called “Heiligenstadt Testament”. It was found after Beethoven's death in 1827, but was written in October 1802, about a year after the creation of the Moonlight Sonata.
In fact, the “Heiligenstadt Testament” is an extensive suicide letter. Beethoven addressed it to his two brothers, indeed devoting several lines to instructions on the inheritance of property. Everything else is an extremely sincere story addressed to all contemporaries, and perhaps even descendants, about the suffering experienced, a confession in which the composer several times mentions the desire to die, expressing at the same time his determination to overcome these moods.

At the time of the creation of his will, Beethoven was in the Vienna suburb of Heiligenstadt, undergoing treatment for an illness that had tormented him for about six years. Not everyone knows that the first signs of hearing loss appeared in Beethoven not in his mature years, but in the prime of his youth, at the age of 27. By that time, the composer’s musical genius had already been appreciated, he was accepted into best houses Vienna, he was patronized by patrons of the arts, he won the hearts of ladies. Beethoven perceived the illness as the collapse of all hopes. The fear of opening up to people, so natural for a young, proud, proud person, was almost more painfully experienced. The fear of discovering professional failure, fear of ridicule or, conversely, manifestations of pity forced Beethoven to limit communication and lead a lonely life. But the accusations of unsociability hurt him painfully with their injustice.

This whole complex range of experiences was reflected in the “Heiligenstadt Testament,” which recorded a turning point in the composer’s mood. After several years of struggling with the disease, Beethoven realizes that hopes for a cure are futile, and vacillates between despair and stoic acceptance of his fate. However, in suffering he early gains wisdom. Reflecting on providence, deity, art (“only it... it held me back”), the composer comes to the conclusion that it is impossible to die without fully realizing his talent. In his mature years, Beethoven would come to the idea that the best of people find joy through suffering. The Moonlight Sonata was written at a time when this milestone had not yet been passed. But in the history of art it became one of best examples how beauty can be born from suffering: