The Piano Sonata No. 14 in C-sharp minor, marked Quasi una fantasia, Op. 27, No. 2, is a piano sonata by Ludwig van Beethoven.
It was completed in 1801 and dedicated in 1802 to his pupil Countess Giulietta Guicciardi.
The popular name Moonlight Sonata goes back to a critic's remark after Beethoven's death.
The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favorite even in his own day.
Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.
Names
The first edition of the score is headed Sonata quasi una fantasia, the same title as that of its companion piece, Op. 27, No.
1. Grove Music Online translates the Italian title as "sonata in the manner of a fantasy."
"The subtitle reminds listeners that the piece, although technically a sonata, is suggestive of a free-flowing, improvised fantasia."
The name Moonlight Sonata comes from remarks made by the German music critic and poet Ludwig Rellstab.
In 1832, five years after Beethoven's death, Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne.
Within ten years, the name "Moonlight Sonata" ("Mondscheinsonate" in German) was being used in GermanSee.
e.g., Allgemeiner musikalischer Anzeiger.
Vol. 9, No. 11, Tobias Haslinger, Vienna, 1837, p. 41. and EnglishSee, e.g., Ignaz Moscheles, ed.
The Life of Beethoven.
Henry Colburn pub., vol.
II, 1841, p. 109.
publications.
Later in the nineteenth century, the sonata was universally known by that name.Aunt Judy's Christmas Volume.
H. K. F. Gatty, ed., George Bell & Sons, London, 1879, p.
60.
Many critics have objected to the subjective, romantic nature of the title "Moonlight", which has at times been called "a misleading approach to a movement with almost the character of a funeral march"Kennedy, Michael.
"Moonlight Sonata", from Oxford Dictionary of Music 2nd edition.
Oxford University Press, Oxford, 2006 rev., p. 589.
and "absurd"."
Moonlight Sonata", from Grove's Dictionary of Music and Musicians.
J.A. Fuller Maitland, ed., Macmillan and Co., London, 1900, p. 360.
Other critics have approved of the sobriquet, finding it evocativeDubal, David.
The Art of the Piano.
Amadeus Press, 2004, p. 411.
or in line with their own interpretation of the work.See, e.g., Wilkinson, Charles W.  Well-known Piano Solos: How to Play Them.
Theo.
Presser Co., Philadelphia, 1915, p.
31. Gramophone founder Compton Mackenzie found the title "harmless", remarking that "it is silly for austere critics to work themselves up into a state of almost hysterical rage with poor Rellstab", and adding, "what these austere critics fail to grasp is that unless the general public had responded to the suggestion of moonlight in this music Rellstab's remark would long ago have been forgotten."
Mackenzie, Compton.
"The Beethoven Piano Sonatas", from The Gramophone, Aug. 1940, p.
5. Form
Although no direct testimony exists as to the specific reasons why Beethoven decided to title both the Op. 27 works as Sonata quasi una fantasia, it may be significant that the layout of the present work does not follow the traditional movement arrangement in the Classical period of fast–slow–[fast]–fast.
Instead, the sonata possesses an end-weighted trajectory, with the rapid music held off until the third movement.
In his analysis, German critic Paul Bekker states: "The opening sonata-allegro movement gave the work a definite character from the beginning... which succeeding movements could supplement but not change.
Beethoven rebelled against this determinative quality in the first movement.
He wanted a prelude, an introduction, not a proposition.”
Maynard Solomon, Beethoven (New York: Schirmer Books, 1998), p. 139
The sonata consists of three movements: I. Adagio sostenuto
\new PianoStaff << #(set-global-staff-size 17)   \new Staff \relative c' {     \key cis \minor     \time 2/2     \tempo "Adagio sostenuto"     \tupletDown     \tuplet 3/2 { gis8^"Si deve suonare tutto questo pezzo delicatissimamente e senza sordino" cis e }       \override TupletNumber.stencil = ##f       \repeat unfold 7 { \tuplet 3/2 { gis,8[ cis e] } } |     \tuplet 3/2 { a,8[( cis e] } \tuplet 3/2 { a, cis e) } \tuplet 3/2 { a,8[( d! fis] } \tuplet 3/2 { a, d fis) } |     \tuplet 3/2 { gis,([ bis fis'] } \tuplet 3/2 { gis, cis e } \tuplet 3/2 { gis,[ cis dis!] } \tuplet 3/2 { fis, bis dis) } |   }   \new Dynamics {     \override TextScript.whiteout = ##t     s4-\markup { \italic sempre \dynamic pp \italic "e senza sordino" }   }   \new Staff \relative c {     \clef "bass"     \key cis \minor     <cis cis,>1 |     <b b,>1 |     <a a,>2 <fis fis,> |     <gis gis,> q |   } >>
The first movement,Note that Beethoven wrote "senza sordino"; see #Beethoven's pedal mark above.
in C minor, is written in modified sonata-allegro form.
The movement opens with an octave in the left hand and a triplet figuration in the right.
A melody that Hector Berlioz called a "lamentation", mostly by the left hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand.
The movement is played pianissimo or "very quietly", and the loudest it gets is piano or "quietly".
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify".
Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance".Jones, Timothy.
Beethoven, the Moonlight and other sonatas, op.
27 and op.
31. Cambridge University Press, Cambridge, pp.
19, 43 and back cover.
The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things."
Life of Beethoven, Alexander Wheelock Thayer, ed. Elliot Forbes, Princeton 1967
In his book Beethoven's pianoforte sonatas   the renowned pianist Edwin Fischer suggests that this movement of this sonata is based on Mozart's "Ah Soccorso!
Son Tradito" of his opera Don Giovanni, which comes just after the Commendatore’s murder.
He claims to have found, in the archives of Wiener Musikverein, a sketch in Beethoven's handwriting of a few lines of Mozart's music (which bears the same characteristic triplet figuration) transposed to C#minor, the key of the sonata.
"In any case, there is no romantic moon-light in this movement: it is rather a solemn dirge", writes Fischer.
II.
Allegretto
File:Beethoven piano sonata 14 mvmt 2 bar 1-8.svg
The second movement is a relatively conventional scherzo and trio with the first section of the Scherzo not repeated.
It is a seeming moment of relative calm written in D major, the more easily notated enharmonic equivalent of C major, the parallel major of the first movement's key, C minor.
Franz Liszt is said to have described the second movement as "a flower between two chasms".Brendel, Alfred (2001).
Alfred Brendel on music.
A Capella Books.
p. 71. .
The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movement's cheerful disposition.
III.
Presto agitato
\new PianoStaff <<   #(set-global-staff-size 17)   \new Staff \relative c {     \key cis \minor     \tempo "Presto agitato"     \clef "bass"     r16 gis cis e gis cis, e gis cis e, gis cis \clef "treble" e gis, cis e | \bar ".
|:"     gis16 cis, e gis cis e, gis cis e gis, cis e <gis e cis gis>8-.
q-.
| \clef "bass"     r16 gis,,, bis dis gis bis, dis gis bis dis, gis bis \clef "treble" dis gis, bis dis |   }   \new Dynamics { s1\p s2. s4\sf }   \new Staff \relative c, {     \clef "bass"     \key cis \minor     \repeat unfold 4 { cis8-. gis'-. } |     \repeat unfold 3 { cis,8 gis' } <cis cis,> gis |     \repeat unfold 4 { bis,8 gis' } |   } >>
The stormy final movement (C minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata Opus 27, No. 1 and later on in Opus 101), namely, placement of the most important movement of the sonata last.
The writing has many fast arpeggios/broken chords, strongly accented notes, and fast alberti bass sequences that fall both into the right and left hands at various times.
An effective performance of this movement demands lively and skillful playing, great stamina, and is significantly more demanding technically than the 1st and 2nd movements.
Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion.
Even today, two hundred years later, its ferocity is astonishing."
Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout.
thumb|Autograph score; the first page has evidently been lost|upright=1.2 Beethoven's pedal mark
At the opening of the first movement, Beethoven included the following direction in Italian: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino" ("This whole piece ought to be played with the utmost delicacy and without damper[s]"Translation from ).
The way this is accomplished (both on today's pianos and on those of Beethoven's day) is to depress the sustain pedal throughout the movement – or at least to make use of the pedal throughout, but re-applying it as the harmony changes.
The modern piano has a much longer sustain time than the instruments of Beethoven's time, so that a steady application of the sustain pedal creates a dissonant sound.
In contrast, performers who employ a historically based instrument (either a restored old piano or a modern instrument built on historical principles) are more able to follow Beethoven's direction literally.
For performance on the modern piano, several options have been put forth.
One option is simply to change the sustain pedal periodically where necessary to avoid excessive dissonance.
This is seen, for instance, in the editorially supplied pedal marks in the Ricordi edition of the sonata.William and Gayle Cook Music Library, Indiana University School of Music Beethoven, Sonate per pianoforte, Vol. 1 (N. 1–16), Ricordi
Half pedaling—a technique involving a partial depression of the pedal—is also often used to simulate the shorter sustain of the early nineteenth century pedal.
Charles Rosen suggested either half-pedaling or releasing the pedal a fraction of a second late.
Joseph Banowetz suggests using the  sostenuto pedal:  the pianist should pedal cleanly while allowing sympathetic vibration of the low bass strings to provide the desired "blur".
This is accomplished by silently depressing the piano's lowest bass notes before beginning the movement, then using the sostenuto pedal to hold these dampers up for the duration of the movement.Banowetz, J. (1985).
The Pianist’s Guide to Pedaling, Bloomington: Indiana University Press, p. 168.
Influence
The C minor sonata, particularly the third movement, is held to have been the inspiration for Frédéric Chopin's Fantaisie-Impromptu, and that the Fantaisie-Impromptu was actually a tribute to Beethoven.
It manifests the key relationships of the sonata's three movements, chord structures, and even shares some passages.
Ernst Oster writes: "With the aid of the Fantaisie-Impromptu we can at least recognize what particular features of the C minor Sonata struck fire in Chopin.
We can actually regard Chopin as our teacher as he points to the coda and says, 'Look here, this is great.
Take heed of this example!' ...
The Fantaisie-Impromptu is perhaps the only instance where one genius discloses to us – if only by means of a composition of his own – what he actually hears in the work of another genius."
Carl Bohm composed a piece for violin and piano called "Meditation", Op. 296, in which he adds a violin melody over the unaltered first movement of Beethoven's sonata.IMSLP Carl Bohm, "Meditation" Notes and references
Notes
References
Sources
External links
Formal analysis of Beethoven's Moonlight Sonata
Analysis and recordings review of Beethoven's Moonlight Sonata
A lecture by András Schiff on Beethoven's piano sonata Op. 27, No. 2
Scores
Ricordi edition, The William and Gayle Cook Music Library at the Indiana University School of Music
