Husarik, Stephen. 2020. “Switching Colors on Beethoven’s Broadwood Fortepiano: Variation 4 of the Piano Sonata, Opus 111.” In ›Klang‹: Wundertüte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft für Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), edited by Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe and Sören Sönksen. 281‒298.
eingereicht / submitted: 01/10/2017
angenommen / accepted: 01/10/2017
veröffentlicht (Onlineausgabe) / first published (online edition): 01/10/2020
zuletzt geändert / last updated: 26/03/2021

Switching Colors on Beethoven’s Broadwood Fortepiano

Variation 4 of the Piano Sonata, Opus 111

Stephen Husarik

Despite Heinrich Schenker’s groundbreaking analysis, William Drabkin’s impressive examination of the sketches and recent analytical overviews by William Kinderman, the variation movement of Beethoven’s Piano Sonata No. 32 in c minor, Opus 111 remains only partially understood. A re-examination of this work in terms of timbral effects audible on the original instrument for which it was composed suggests an overall three-part dramatic division corresponding to the form of a resurrection drama where a theme lives, dies and returns in apotheosis. This conclusion is based upon sound recordings made on Beethoven’s original Broadwood fortepiano located in Budapest and similar instruments in Bonn and California. Research into Beethoven‘s manuscripts and sketches support the conclusions presented in this paper.

Schlagworte/Keywords: Beethoven; dramatic envelope; Dramatische Kurve; fortepiano; Klangfarbe; opus 111; timbre

Dieser Artikel erscheint im Open Access und ist lizenziert unter einer Creative Commons Namensnennung 4.0 International Lizenz.

This is an open access article licensed under a Creative Commons Attribution 4.0 International License.