Analysis Of Beethoven Pinao And Violincello Sonata No.3Opus.69

Ludwig van Beethoven (1770-1827), one of the representatives of Viennese Classical School, a prominent Germany composer surpassing through the Classical and Romantic Period. In1787, Mozart predicted that Beethoven would be a musician shocking the world after Mozart went to his concert in Vienna. In1792, after the death of Beethoven’s parents, he went to Vienna once again and learnt successively from Joseph Haydn as well as Johann Albrechtberger, etc. Before this study, Beethoven also learnt from Mozart. Therefore, the works in his earlier years were deeply influenced by Mozart and Haydn.Beethoven spent all his life completing five cello sonatas among which the Opus.69, the third sonata by piano and cello in A major, is best known by people. In addition, from the three partitas composed for the cello and the piano, other chamber music works and the well-known triple concerto, it can be clearly seen that Beethoven attached great importance to and wanted to develop the instrument---the cello. Undoubtedly, five cello sonatas have become the essence in all cello music pieces.By concluding the other four cello sonatas of Beethoven, comparing the creating background, musical form, harmony as well as the living concert of three famous performer, and combining the personal experience of playing, this thesis will analyze the Third Sonata through combining the theory with practice.This thesis can be divided into introduction, three chapters and conclusion. The introduction gives a brief look at Beethoven’s great attention on cello development as well as the breakthrough made in the subordinate position of the cello and the piano. The first part of the first chapter introduces two cello sonatas of Opus.5and two cello sonatas of Opus.102, including their creation background and features. The second part introduces the creation background and features of the third cello sonata of Opus.69. The second chapter analyzes the musical form and harmony of the third cello sonata. The third chapter, by combining the playing of three performers with the personal experience, analyzes the playing bowings, fingering as well as musical processing and so on. The conclusion summarizes the artistic value of the work.