2015/10/01 by Heinrich Schenker · 1 citation
Arts and Humanities · Computer Science · #Diverse Musicological Studies #Musicology and Musical Analysis #Music Technology and Sound Studies #Piano sonata #Sonata rondo form #Piano #Art #Sonata form #Literature #Art history
paper · doi:10.1093/acprof:oso/9780199914227.001.0001
openalex publication_date 2015/10/01 · openalex created_date 2022/05/12 · openalex updated_date 2026/07/30
Abstract Piano Sonata in A♭ Major, Op. 110 comprises three movements: I. Moderato cantabile, molto espressivo, A♭ major; II. Allegro molto, F minor; and III. Adagio ma non troppo (Arioso dolente); Fuga (Allegro ma non troppo), L’istesso tempo di Arioso; L’istesso tempo della Fuga, A♭ major. The first is a lyrical sonata form, the second a ternary construction in the manner of a scherzo with trio, while the third is an interlacing of a fugue with a slower-paced song of lament (which is itself preludized by a recitative of six bars). Form and tonal organization are elucidated in detail section by section; an appendix affords access to Schenker’s voice-leading graphs of certain portions of the music from some twelve years later, originally published in his Masterwork I. Performance instructions pertaining to tempo, dynamics, fingering, etc., are given for each section of the music. Critical evaluation is provided, with reference to the composer’s Autograph, of various earlier editions, including the Original Edition, the so-called Urtext Edition, the Gesamtausgabe edition, and several performing editions. Insights about Beethoven’s creative process are gleaned from his compositional sketches and from revisions found in the Autograph score.