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This work became one of the most amazing spiritual revelations of the composer. The Moonlight sonata is one of the works in which Beethoven was looking for new ways to develop the sonata cycle. He called it a fantasy sonata, emphasizing the freedom of composition, which deviates far from the traditional scheme. Of all of Beethovens compositions, I liked the Moonlight Sonata the most because it is famous for its complex structure. The first movement is slow: the composer abandoned the usual sonata. This is an Adagio, completely devoid of the figurative-thematic contrasts typical of Beethoven, and this is very far from the first part of the Pathetic (Stanley, 2021). This is followed by a small Allegretto of a minuet character. The sonata form, saturated with unnecessary drama, is reserved for the finale, and he becomes the culmination of the entire composition (Milner-Gulland & Sobolev, 2021). In Adagio, Beethovens favorite principle of dialogic oppositions gave way to lyrical monologue the one-tone principle of solo melody. The second part (Allegretto) is included in the cycle of Moonlight, like a light interlude between two drama acts, by contrast shading their tragedy. It is designed in lively, serene tones, resembling a graceful minuet with a perky dance melody.
In conclusion, Beethovens Moonlight Sonata is among the composers most popular works. Moreover, it is one of the brightest compositions of all world music. All three parts of this work are an indissoluble feeling that grows into a real formidable storm. The heroes of this drama and their feelings are alive to this day, thanks to this wonderful music and an immortal work of art created by one of the greatest composers.
References
Milner-Gulland, R., & Sobolev, O. (2021). What Is Music? What Does It Do?: A Collective Analysis of The Kreutzer Sonata. In Tolstoi and the Evolution of His Artistic World (pp. 265-286). Brill. Web.
Stanley, G. (2021). Voices and their Rhythms in the First Movement of Beethovens Piano Sonata Op. 109: Some Thoughts on the Performance and Analysis of a Late-Style Work. In Beethoven and his World (pp. 88-123). Princeton University Press. Web.
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