DAILY DOSE of BEETHOVEN (November 18, 2020)
Yesterday we discussed an easy analysis of Beethoven's piano sonata No. 31, Op. 110. Now, let us add something more difficult, not musically, but conceptually.
The transition from the second to third movement of this sonata is seamless. The transition from the fugue in the third movement, based on the same series of rising fourths as the very opening, and its inversion, may seem like a simple mechanical process, but inversion also plays a key role in physical science, and in philosophy.
What comes in between?
In between the two fugues, Beethoven repeats something that preceded the right-side-up fugue, his "Arioso Dolente". This profound movement quotes the aria "Est ist Vollbracht", from Bach's “Saint John's Passion”.
Jesus said this phrase, as he is about to expire. The usual translation is: "It is finished". But a better one would be: "It is accomplished", or, "It is fulfilled." Jesus is lamenting his imminent demise, but at the same time turning it upside down, inverting it into the fulfillment of a prophecy, that shall liberate humanity. This is captured in the aria. The singer first starts out quoting Jesus' words: "Es ist Vollbracht", but then bursts into a fast section singing his praises:
It is accomplished!
What comfort for all suffering souls!
The night of sorrow
now reaches its final hours.
The hero from Judah triumphs in his might
and brings the strife to an end.
It is accomplished!
We include a complete version of the Bach:
The third movement of op. 110 echos that profound sentiment from the Aria. The second fugue which follows, must grow in a triumphant manner, "bit by bit with new life."
The sonata ends with a triumphant integration of the sonata form established by Haydn, Mozart, and Beethoven, with the older, and rediscovered ideas of J.S. Bach and Handel.
Here is a short audio to help with our explanation: https://drive.google.com/…/1Y_cJulAL8lY-ig9rvOVgG75fNm…/view
Here’s the complete performance of Beethoven’s Op. 110 by Rudolf Serkin:
1. Movement 1 0:00
2. Movement 2 6:30
Allegro Molto
3. Adagio and recitative 8:38
4. Klagender Gesang 10:21
Arioso dolente
5. Fugue 12:22
6. Arioso- but losing strength 14:50
7. Fugue inverted 17:10