Ludwig van

Ludwig van Beethoven Biography Quotations Composition History

(The “Moonlight” Sonata in C Sharp Minor, op. 27 no. 2)

Detailed Listening Guide(of all Three Movements)

Works Cited

GREATEST CO

MPO

SER OF ALL

TIME

Click icon to add picture

Born: December 16, 1770 in Bonn, GermanyMusic is most recognized in the world.

FatherJohann van Beethoven

Musician Singer Teacher Alcoholic

MotherMaria Magdalena

Keverich

Kind Gentle Best Friend

SiblingsNikkolas Johann

October 1776

Maria Margaretha Josepha

1786

Kaspar Anton Karl(shown below)

April 1774

Beethoven’s Early Years First public recital on

March 26, 1778

Attended a Latin school, Tirocinium

Quit school at ten years of age

First composition published at age twelve

Struggles Alcoholism First Job Continuing

Education Wolfgang Amadeus

Mozart Mother’s Sickness Death

Extraordinary Holy Roman

Emperor Joseph II Mozart

Symphony No. 1 Joseph Haydn Professional career

began

NAPO

LEON

BON

APARTE

•April 1800

•Close in Age

•Declaration

•Emperor

•Symphony No. 3

•Eroica Symphony

Deaf and Depressed Angry and alone

Suicide

Low pitched sounds

Most popular

BeethovenFur Elise

Death

“For Elise” 1810 Bagatelle in A Minor “For Therese” Elisabeth Rockel

1815 Custody Battles Brutal Seven Years

Final Symphony Ninth Symphony in

D Minor, Opus 125 Popular 1822-1824

King of Prussia Fourth Movement 60-70 Minutes

Death of a Legend 56 Years Old Cause of Death Clues of Deafness Proposals Children

Quotations “Only the pure of heart can make good

soup.” “Then let us all do what is right, strive

with all our might toward the unattainable, develop as fully as we can the gifts of God has given us, and never stop learning.”

And on his deathbed he said, “Applaud my friends, the comedy is over…”

The “Moonlight” Sonata

Origin of name 1801 Dedication Humble Beethoven

Listening Guide

Movem

entFirst

Measure 5: The melody is introduced by 3 notes above the accompanying triplet figure.

M. 10: The melody now is played in minor with the accompaniment triplet also becoming minor

M. 22: He uses suspensions to go to the key of f# minor in m.23. Here he plays the main theme in f# minor.

M. 28: The melody is repeated as an echo in the left hand in m. 29

M. 30: The melody is echoed in the left hand in m. 31 M. 32-42: Is a transition or modulation back to the main

theme in c# minor M. 55: He uses suspensions using the inner parts as a

modulation. M. 59: The main motif is now repeated in the left hand

with the triplet figure in the right hand. He uses the c# minor triplet broken chords ascending and descending until he brings it to a peaceful resolution on the ppp c# minor chord. Attacca subito il sequente on the bottom of the score indicates: begin the next movement immediately.

ContinuedM

ovement

Second

Allegretto means poco allegro. This movement should not exceed a moderate minuet tempo resembling similar movements in the Sonatas Op 2 #1 & 2; Op 20 #2; Op 14 #1 and some of the later ones.

The anti scherzo is a lyrical intermezzo between two tragical nocturnes. Franz Liszt noted “a flower between two abysses.”

M. 9: The right hand produces a song-ful leading to melody with a light and graceful staccato in the second part, which latter combines with the left hand part as a third factor.

M. 37: He uses a pattern and a variation leading into descending octave passages.

M. 61: He uses a reprisal of the Main Theme followed by the second reprisal using octaves and suspensions bringing the second movement to an end in Db minor. The two reprisals preceding the end make an undelayed attack of the Finale (3rd movement) indispensable.

FinaleM

ovement

Third

The main theme comes in presto agitato. It is a passage of arpeggios leading up to the abrupt stroke on the 4th beat in m. 2 which is played soft for distinctness over the rapidity of the arpeggios. The arpeggios in the right hand are accompanied by repetitions of staccato 5ths in the left hand. The main theme is in c# minor followed by an echo in G# Major.

M. 5: The theme is repeated by c# minor arpeggios as a sequence and taking the piece to G# Major.

M. 9: The left hand has the melody here accompanied by diatonic intervals in the right hand with a pause on G# Major octave.

M. 15: The Main Theme returns M. 21: The Secondary Theme is played expressively

building in intensity with use of octaves in the right hand taking the piece to the key of A Major.

M. 53: Agitato: The Closing Theme I is introduced using a pattern, repetition followed by descending staccato and slurred intervals of 3rds and 4ths.

ContinuedM

ovement

Third

M. 60: The passionate 8th note beginning with the first half of the measure with stronger emphasis and greater freedom as is demanded by the rhythmic importance of the second 8th note which accelerates in the second half, creates unity of the measure and also a psychical agitation.

M. 67: The Closing Theme II is repeated with intervals of 9ths followed using return to the Main Theme at the repeat.

M. 76: In the development of the second ending the Main Theme and Secondary Themes are repeated. Then the left hand plays the Secondary Theme using sequences.

M. 86: The left hand imitates the melody accompanied by broken chords in f# minor then going to G Major.

M. 98: We have a tranquil singing style melody in the right hand accompanied by octaves in the left hand followed by more animation in m. 102. Here the right hand uses sequential motives accompanied by octaves in the left hand ending on a g# minor chord which is molto tranquillo.

ContinuedM

ovement

Third

M. 113: The Main Theme reappears softly, leading to forte in m. 121. Here the left hand imitates the melody accompanied by harmonic minor in the right hand descending intervals.

M. 127: The Secondary Theme reappears expressively, building in intensity to a fortissimo chord in d minor in m. 139.

M. 148: The Closing Theme I reappears in c# minor. M. 162: He begins the coda which animato,

crescendoing with use of the Main Theme to the F# Major chord held by the fermata, and then there is a re-entrance of the first subject.

M. 178: The melody is in the left hand with very soft accompaniment in the right hand.

M. 182: The melody is in the right hand dolefully becoming agitated and vigorous to the fortissimo where we have cascading c# minor arpeggios and a chromatic scale followed by the cadenza leading to the adagio and return of the Closing Theme II which is twice as slow as the presto movement.

ContinuedM

ovement

Third

M. 207: We begin an instantaneous animated and tempestuous reproduction of the Principle Theme in miniature. The deep melancholy of the adagio is followed by a wild desperation of the Finale in c# minor.

Works Cited“About the Composition.” Fur Elise. Forelise.com. 2006-

2013. 9 Feb. 2013. Web.Chan, Amanda. “Beethoven’s Deafness May Have

Influenced His Music Throughout the Years: Study.” The Huffington Post. TheHuffingtonPost.com, Inc. 26 Dec. 2011. 9 Feb. 2013. Web. 

Koerth-Baker, Maggie. “7 Songs Inspired by Real Women.” CNN.com/living. Cable News Network. 23 July 2007. 9 Feb. 2013. Web. 

"Ludwig Beethoven." 2013. The Biography Channel website. 9 Feb. 2013. Web.

“Parents.” Beethoven. Beethoven.ws. 9 Feb. 2013. Web.“Siblings.” Beethoven. Beethoven.ws. 9 Feb. 2013. Web.