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My own performance of Moonlight Sonata (Piano Sonata No. 14 in C minor (cis-moll) “Moonlight” Op. 27 No. 2., movement 1) from Ludwig van Beethoven, during my solo concert on bass guitar in Gliwice, Silesia, Poland.

I play it in F# minor (fis-moll), on a 5-string Spector Bass Guitar

Sonata księżycowa – gitara basowa

Grzegorz Kosiński – koncert solowy, Gliwice 26.10.2008 (gościnnie podczas Wielkiego Finału GKP)

Sonata Księżycowa – Sonata fortepianowa nr 14 cis-moll op. 27 nr 2 Ludwiga van Beethovena, jedna z najsłynniejszych sonat w historii muzyki. Powstała w latach 1800-1801. Trzydziestoletni kompozytor zadedykował ją swojej ukochanej, hr. Giulietcie Guicciardi.

Nazwa, która przylgnęła do Sonaty, nie została nadana przez samego Beethovena (ten określił ją Sonata quasi una fantasia – Sonata na kształt fantazji), ale przez poetę i krytyka muzycznego Ludwiga Rellstaba. Według niego, pierwsza część Sonaty przywodzi na myśl odbicie światła księżyca w spokojnej, gładkiej tafli jeziora. (Rellstab miał na myśli Jezioro Czterech Kantonów w Szwajcarii.)

Części Sonaty [edytuj]

I Adagio sostenuto
II Allegretto
III Presto agitato

Księżycowa nie ma klasycznej budowy sonaty. Pominięta jest pierwsza część (szybka), allegro sonatowe. Początkowe Adagio sostenuto odpowiada formalnie części drugiej, powolnej. Beztroskie Allegretto gra rolę Menueta lub Scherza, stojącego zazwyczaj na trzecim miejscu. Finał, Presto agitato (“bardzo szybko i wściekle”) kończy dzieło mocnym akcentem.

The Piano Sonata No. 14 in C-sharp minor “Quasi una fantasia”, Op. 27, No. 2, by Ludwig van Beethoven, is popularly known as the “Moonlight” Sonata (Mondscheinsonate in German). The work was completed in 1801[1] and rumored to be dedicated to his pupil, 17-year-old Countess Giulietta Guicciardi,[2] with whom Beethoven was, or had been, in love.[3] The name “Moonlight” Sonata derives from an 1832 description of the first movement by music critic Ludwig Rellstab, who compared it to moonlight shining upon Lake Lucerne.[4][1]

Beethoven included the phrase “Quasi una fantasia” (Italian: Almost a fantasy)[5] in the title partly because the sonata does not follow the traditional sonata pattern where the first movement is in regular sonata form, and where the three or four movements are arranged in a fast-slow-[fast]-fast sequence.

The work is possibly the most familiar of all Beethoven’s piano sonatas, and is widely performed and recorded.
Contents

The sonata has three movements:

1. Adagio sostenuto
2. Allegretto
3. Presto agitato

The first movement is written in a kind of truncated sonata form. A melody that Hector Berlioz called a “lamentation” is played (mostly by the right hand) against an accompanying ostinato triplet rhythm. The movement is also played pianissimo or “very quietly”, and the loudest it gets is mezzo-forte or “moderately loud”. The movement has made a powerful impression on many listeners; for instance, Berlioz wrote that it “is one of those poems that human language does not know how to qualify.” The work was very popular in Beethoven’s day, to the point of exasperating the composer, who remarked to Czerny, “Surely I’ve written better things.”[6]

The second movement is a relatively conventional minuet and trio; a moment of relative calm written in D-flat major. This key signature is enharmonically equivalent to C-sharp major, that is, the tonic major for the work as a whole. The slightly odd sound of the first eight bars seems to be the result of the minuet starting in the “wrong” key; i.e. the dominant key of A-flat major. The music settles into D-flat only in the second phrase, bars 5-10.

The stormy final movement (C-sharp 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) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands flamboyant and skillful playing.

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.”

The musical dynamic that predominates in the third movement is in fact piano. It seems that 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 overall dynamic.

Duration : 0:5:39

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