关于被称为的“暴风雨”的标题，一个快板的速度是不适合的最后运动，以解释莎士比亚的暴风雨的结局（毕竟，选择到接受所有为爱结束）以及快递莎士比亚的和平的心态在他的老年龄（暴风雨是他的最后一部戏）。 Allegro是不适当的最后一个乐章，以反映贝多芬的抑郁症，贝多芬的证据是，写他的海黎詹斯登的约在同年（要求一个快节奏，他实在是太抑郁）。因此，我选择了速度稍快Adante酒店，在我自己的表现略慢于快板。 （大致在约78到溺爱季度）。
A case study: analysis of Beethoven’s piano sonata in
Assignment Opus.31 No. 2—–allegretto
With the works of Beethoven’s middle period, there always arouse uncertainties and controversies, such as the missing of sketches, the influence of anecdotes and diversity of editions. According to Rink, the discussion should concern a particular conceptual shaping of piece realized in analysis and possibly in performance as well instead of describing universals. Therefore, to exemplify this point, I return to the most obvious and familiar case in Beethoven repertoire, namely the piano sonata Op. 31. No. 2, the 3rd movement. Details in performances of this movement vividly illustrate the exact interpretation that can exist between modern aesthetics and historical context from the analysis of perspective of allegretto, dynamic and pedal respectively.
Considerable evidences can be easily found both in recordings and scores. For example, Paul Badura-Skoda has recorded many of Beethoven’s sonatas on piano and most of his tempos fall within the parameters of these metronome indications (cited in Rosenblum,1988). There are four sets of metronome indications for Beethoven’s piano sonatas in No. 17 in D minor, Op. 31 No. 2
From the table above, the range of allegretto is marked between 76 and 88 to the dotted quarter. It is obvious that the range has covered both moderato and allegro. In addition,based on the analysis of the Piano Masters ‘s recordings by means of metronome, the range of tempo in allegretto can be roughly summarized between 74 and 92 to the dotted quarter. (see table 2)
Based on above, the range of indication in allegretto has covered two different kinds of expression terms (moderato and allegro). For example, generally, ordinary allegretto could be set in the range between 72 and 78 to the dotted quarter. Based on this point, however, in terms of Guld’s recording, he implied 92 to doted quarter(138 to the quater), which could be a tempo as fast as an ordinary allegro. Similarly, Czerny,Simrock edition suggested a metronome mark of 88 to the doted quarter (132 to the quater), which could be a tempo equal to allegro. To give this, in my opinion, I intend to interpret allegretto with a moderate pace(around 78 to doted quater). There are two reasons can explain this point.
First, the musical character obviously change from triple to duple by means of added a pralltriller(see example3 ), It could be inferred that Beethoven intented by using the pralltriller characteristics made a eighth note in moderate sounds the same effect with a eighth note in allegro. In other words, only the pralltriller in moderate could achieve the effect of eighth note in allegro, which requires that the tempo in moderate could not be not too fast.
澳洲代写论文 Assignment & Essay Example 1
Concerning the title referred to as the “tempest”, an allegro pace is inappropriate for the last movement to interpret the Shakespeare’s Tempest ending (after all, chose to accept all in the end for love) as well as express Shakespear’s peaceful mind in his old age (Tempest is his last play). Allegro is also inappropriate for the last movement to reflect Beethoven’s depression, the evidence is that Beethoven wrote his Heiligenstadt Testament in the same year (he is too depressive to demand a fast tempo). Therefore, I choose a tempo that is a little faster than adante and a little slower than allegro in my own performance. (roughly around around 78 to doted quarter).
Many documents indicate that Beethoven’s intention on pedal is to hold down the pedal as the end of the piece . Based on this point, it is easy to conclude that Beethoven’s pedal instruction is not applicable to our time due to the insrument in Beethoven’s time is differnet from what we have now. For this final allegretto, both editions and recordings emerged as the diversity of the pedal. it is evident that there were no instructions of pedal on Urtext in the 3rd movement of Op.31 no.2, but there are quite a few instructions of long pedal were marked in some edition (e.g.Czerny’s Sigmund Lebert)