I want to find the introduction and form analysis of the fourth movement of Beethoven's piano sonata, as well as the third movement of sorrow.

Beethoven's fourth sonata, like the first three sonatas, consists of four movements. In this sonata, the music is written in orchestral music, and the fourth movement (Rondo) is the most "piano-like". Of course, the piano effect of Beethoven's early sonatas is excellent. However, when playing them, the pianist should always imagine some orchestra, some instruments or a group of instruments in the band.

Here again, we should emphasize the importance of accurately expressing various playing methods, dynamic changes and rhythm changes. Beethoven usually wrote them carefully and accurately, and closely linked them with his artistic thoughts.

First movement

The first movement of this sonata is the Allegro sonata. The main part is compressed and ends with a perfect and complete termination in major (E-flat major). The beginning of connecting paragraphs is a new motivation (progressive syllables of octaves), which plays an important role in the future development. The auxiliary part begins with the motivation of the dominant tone in B flat major (F-E seven degrees in bass). After the eighth note is almost continuous, the second theme in minor appears in the form of peaceful progress (with quarter notes). However, after a few bars, the progress of the eighth note was resumed, and it was converted into a sixteenth note before the end of the minor part.

At the end, the melody line appears in the middle, and each bar has two melody sounds (as if with quarter notes) on the background of sixteenth notes. There is a small "supplement" behind the end part, in which there is a new segmentation motivation, which plays an important role in the future work.

The unfolding part is based on the materials of the main body part, the connecting paragraph and the above-mentioned segmentation motivation. After being out of tune for many times, the first driving force for the development department to move towards the main voice department is in A minor at first, and then in D minor. The beginning of the reproduction part is not the initial P, but ff.

The reproduction part is basically similar to the presentation part. A considerable postscript was added at the end of the copy department. The end of the whole movement is full of vitality, solemnity and loudness (ff).

The second movement

In Beethoven's sonata form, the unity of rhythm and pulsation is a law in individual movement. This unity can not only exist in the middle of individual movements of sonata, but also extend to several movements and sometimes even the whole sonata in some cases. The relationship between the first three movements can be established: the dotted line dichotomy in the first movement is equivalent to an eighth note in the broadboard movement, and an eighth note in the broadboard movement is equivalent to a whole bar in the Allegro movement (the third movement). However, this should not be hastily understood from a mathematical point of view. This is living music, so the pulse in the music should be alive, not ticking like a metronome.

This broadboard movement is one of the meaningful adagio movements in Beethoven's sonatas, full of profound, slightly severe and innocent expressions. The form of the broadboard movement is complicated, and it is a trilogy inserted in the middle.

The basic theme is stated in a simple trilogy. The first phrase (the eighth bar) ends with a happy ending of the main theme (C major). The second phrase (the sixth bar) is stated in the dominant key (G major) and ends in the dominant chord in C major. Then the first phrase is repeated, changed and expanded (10 bar). Like the first time, it ended perfectly and completely in the main melody.

The transition of a bar (octave of sixteenth note) leads to the beginning of insertion. This plug-in starts with a chord in the background of a flat major (six notes down), and the bass part has a short sixteenth note (as if it were dialed out), which has a solemn and majestic nature.

After the eight-bar phrase in parallel minor (F minor), D flat major appeared. Secondly, the octave progression (both hands are octaves) G-F is inserted into the topic sentence. The second sound in F major seems to have been changed to G-flat and turned to F major. The first motivation (false representation) of the basic theme appeared in B flat major, which was transferred to true representation through subordinate chords in C minor. In the reproduction department, the basic theme is stated in the form of variation, and finally there is a considerable ending (section 17), which consists of the material of the basic theme.

The third movement

The appearance of the third movement (Allegro) with minuet rhythm should make the audience feel that his breathing becomes relaxed, as if he were in the atmosphere of a bright spring morning.

In this action, all the dynamics changes, playing methods and rests should be completed very accurately. Rest should be like real breathing.

The fourth movement

This Rondo belongs to the same Rondo as Beethoven's songs, and its essence is naive, bright and lovely. The Rondo in Sonata No.22 in B flat major ends with this Rondo, and the second movement of Sonata No.90 is the perfect example of this Rondo.

The form of this movement is Rondo Sonata.

The main part is a two-part musical form. It ends with the perfect and complete termination of the main theme (E flat major). The next connecting paragraph ends with a dominant key (B flat major), followed by a strong second theme, full of malicious humor. Then the main part of the second topic didn't end. After the octave B suddenly stops, it turns to octave B and octave C, and then the middle part starts in C minor and is stated with chords in the background of 32 tones. The theme of this insertion is firm and dramatic, which is in sharp contrast with the main part of Rondo (compare the insertion of A minor in Rondo 2 of sonata in A major).

In the recurring part, the connecting paragraph ends in a major (e-flat major), and the auxiliary part leads to the main part for the last time in the recurring part. The main part has changed a lot this time, and the ending is very bold to leave E major.

Rondo is over. Finally, a new theme (which is very common in Beethoven's works) appears in the background of the 32nd note, which is similar to the theme in the middle paragraph.

Tragic reference: the creative art and performance skills of Beethoven's piano sonata Pathetique

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