LUDWIG VAN BEETHOVEN -SONATA N.31 OP.110 ,3d MOV//TATIANA PRIMAK KHOURY ,PIANO

LUDWIG VAN BEETHOVEN -SONATA N.31 OP.110 ,3d MOV
TATIANA PRIMAK KHOURY ,PIANO
Recording from her Double Cd - Beethoven
The Piano Sonata No. 31 in A flat major, Op. 110, by Ludwig van Beethoven was composed in 1821. It is the central piano sonata in the group of three opp. 109--111 which he wrote between 1820 and 1822, and the thirty-first of his published piano sonatas.

The sonata is in three movements. The moderato first movement in sonata form, marked con amabilità, is followed by a fast scherzo. The finale comprises a slow recitative and arioso dolente, a fugue, a return of the arioso lament, and a second fugue that builds to an affirmative conclusion.Alfred Brendel characterises the main themes of the sonata as all derived from the hexachord - the first six notes of the diatonic scale - and the intervals of the third and fourth that divide it. He also points out that contrary motion is a feature of much of the work, particularly prominent in the scherzo second movement.he third movement's structure alternates two slow arioso sections with two faster fugues. In Brendel's analysis there are six sections - recitative, arioso, first fugue, arioso, fugue inversion, homophonic conclusion.

The movement uses the scherzo's concluding ritardando bass arpeggio in F major to resolve to B♭ minor, forming a seamless bridge between the rough humour of the scherzo and the doleful meditation of the Arioso, in A♭ minor. Commentators (including Rosen and Kinderman cited) have seen the initial recitative and arioso as "operatic". The recitative, whose tempo changes frequently, leads to an extended arioso dolente, a lament whose initial melodic contour is similar to the opening of the scherzo (although Tovey dismisses this as insignificant). The lament is supported by repeated left hand chords.

The arioso leads into a three-voice fugue, whose subject is constructed from three parallel rising fourths. The opening theme of the first movement carried within it elements of this fugue subject (the motif A♭--D♭--B♭--E♭) and Matthews sees a foreshadowing of it also in the alto part of the first movement's antepenultimate bar. The countersubject moves by smaller intervals. Kinderman finds a parallel between this fugue and the fughetta of the composer's later Diabelli Variations, also finding similarities with the Agnus Dei and Dona Nobis Pacem movements of the contemporaneous Missa Solemnis (sketches of this work and the Missa Solemnis are to be found interspersed in the same notebook).
http://en.wikipedia.org/wiki/Piano_Sonata_No._31_%28Beethoven%29

Видео LUDWIG VAN BEETHOVEN -SONATA N.31 OP.110 ,3d MOV//TATIANA PRIMAK KHOURY ,PIANO канала Houtaf Khoury