한국피아노교수법학회논문집 : 베토벤 피아노 소나타 No. 31, Op. 110 Ab Major의 연구 = Research on Beethoven Piano Sonata No. 31, Op.110 Ab Major

다국어 초록 (Multilingual Abstract)

The great composer Ludwig van Beethoven composed piano sonatas as a pianist. The piano sonata No.31, Op.110 Ab major is the only major work with no dedication. It is the most continuous work of all his piano sonatas. He manipulated tonal areas through this piano sonata No.31, Op.110 Ab major. This sonata is an incredible work of art in the respects of the range of musical style and embracing emotion, the range and expressive effectiveness. The motivic relationships of this sonata are extraordinary. Beethoven compared the texture between fugue and homophony. Beethoven borrowed two Austrian songs such as "Our cat``s had kittens" and "I``m a wretch, you``re a wretch" to the second movement of this sonata. He also used Recitativo in manner of Baroque style with poignant and intense mood. Tempo has changed 7 times and Bebung effect of clavierchord was used. Beethoven alsoborrowed "Es ist volbracht", No. 58 from J. S. Bach`` St. John Passion. The moment of deepest despair and Christ``s final words from the cross are described. In tonic major, the first Fugue is started and climax on V7/I. After the second Arioso, the second Fugue is played in reverse form and ending in a huge affirmation of Ab Major with ff. The tonal areas of whole sonata is Ab major. Beethoven emphasized the Db Major as IV. In the exposition, there is an emphasis on I and IV chords in both key areas. These chords are stressed several times with the third on the top. The notes of Db and D, Fb and F are conflicted in several times to describe the struggling life of human being. The penultimate harmony of the first movement is crucial and represented the clash between F and Fb. The first fugue is seemed the resolution of the tonality. The first fugue was divided into three sub-sections. The second Arioso is shown in the new key of g minor. After the final chord is altered to be G major, the second Fugue has shown in logical manner. Through the tonal ambiguity of tonal area, the harmony is embraced to reenforce the tonic. The motive of the first theme of the first movement is appeared through the whole sonata. The downward motion of third is sequenced several times. The fugue subject is derived from the first theme of the first movement. It omits the opening melody note C. Beethoven wrote this sonata as a drama through the fugue and homophony. The function of the fugue is not only a contrapuntal working out of the subject, but to return to the homophonic texture of the recapitulation of the first movement. After the hopeless first Arioso, the reversed fugue subject has stated. Beethoven manipulated the subject in manner of the augmentation and diminution. Finally, Beethoven glorified the God through the arpeggio of 5 octaves with ff.