【正文】 o, but Beethoven is here destroys this kind of convention pletely on one, begin from the adagio movement directly, after second movement in the allegretto , advance by leaps and bounds get urgent finale of board.The music connects with the sound beginning from three hanging by a thread , this basic rhythm forms the background of the whole movement, run through the whole song from start to finish. And four small matters of the beginning are that the preface of the wind is played extempore. Then it is the first simple , dull theme , e on stage as a cool breeze blows gently or the bright moon lifts off slowly. The second theme of e ditty with similar atmosphere, appear in 12 small matters . From one midsection that theme begin, like short and small development department very, three connect with arpeggio of sound make twists change climb and turning on at this moment, leap to the high pass, show uneasy mood , raise the climax slightly for this movement too.After the music is calm once again , enter the third section that the theme reproduced. Two theme at this moment is it rise c impressive at the ditty , like sink by west like the setting sun finally to change to, die away slowly when played at the end of the basic motive of lasting bass .The second movement: The allegretto, lower D major , 3/4 of the beats. Among the first serious movement and excited finale, Beethoven has assigned a section of refined , lyrical , lovely short and small music, he only writes down the speed mark here, it is not that the scherzo is not the minuet on the personality . Li Si specially describes this section of exquisite movements, is flower opened between two abysses , endured gram and called the golden bridge in the fields lying fallow in rotation .Marx, in order to enable this sonata to stand up with the bunches of love of the tower of bright red row, then describe this movement as the song taken leave of : Oh, please don39。s voices to sighed: Oh not all right, this section is too difficult, I do not play well. If can hear Beethoven plays , how well . A man says : Well, if not so poor, I am sure to try to buy a ticket , let you hear his play. As soon as Beethoven greatly moves, Beethoven knocks at the door to enter, is a shoemaker who is still working at the moment , by the shabby piano , a young girl with blind eyes sits. Knowing the elder brother that a shoemaker is the young girl, two people are interdependent, the young girl listens to neighbouring noble39。s leading the piano music to be collected equally . Writing time is over 30 years, on the style of the music and spiritual content, regarded as Beethoven39。s piano sonata, has more broad expressions , stress the dramatic music result even more. The pass of piano performance has been expanded , the contrast of dynamics has been strengthened, the skill of the finger has been improved, and has also strengthened the contrast factor within the sonata form structure , has expanded the contradiction conflict of the launching department and motive force of development. Beethoven39。 The first movement the allegro, the second movement the adagio, the third movement the allegro。Title purpose musical sound of moonlight piano sonataThe piano sonata is the divertimento of a kind of piano performance, it is a piano works structure form of the monly used largescale , many movement in the European classical music. This kind of melody form passes the development of 200 histories of more than years, has formed one39。貝多芬?guī)煶星胺ǘ痪心嘤谇胺ǎ竽懙貙で蟾m合表現(xiàn)內(nèi)容的形式和方法。樂曲經(jīng)過短短的展開部后，內(nèi)心的激動(dòng)表現(xiàn)得更為強(qiáng)烈，感情極為奔放。第一樂章中那忍耐和壓抑的痛苦在這里變?yōu)椴活櫼磺械匕l(fā)出呼叫，充分表現(xiàn)了與命運(yùn)搏斗的大無畏精神。這是整首奏鳴曲中最富于戲劇性和矛盾沖突的部分，是整個(gè)樂曲的高潮。隨后又返回第一段。第一段從圓滑奏與斷奏相互呼應(yīng)的第一主題開始，然后變奏著反復(fù)。第二樂章是小快板，是一支變化的小步舞曲。第一樂章是以單三部曲式寫成，有冥想的柔情，悲傷的吟誦，具有浪漫主義夜曲的特點(diǎn)，是深刻的幻想，是暗淡的色調(diào)?！渡膭?dòng)律》中秋華寫到全曲共三個(gè)樂章。這是獻(xiàn)給戀人朱列塔的，這位年輕貌美的姑娘，曾是貝多芬的鋼琴學(xué)生，后來兩人情意相投，卻因朱列踏的父親注重門第而反對，婚事告吹。貝多芬即將此景表現(xiàn)在所寫奏樂曲中，從而產(chǎn)生了這首“月光”奏鳴曲。貝多芬深為感動(dòng)，特地為她演奏一曲。關(guān)于這首奏鳴曲的標(biāo)題來有一個(gè)故事。這里的音樂思想帶有一種感情的深度和幾乎預(yù)示性的升華，它要求演奏者具有非凡的獻(xiàn)身精神和深刻的音樂洞察力。和聲概念更為大膽，色彩濃淡的變化更豐富，而音響之宏偉，卻產(chǎn)生于他已完全耳聾時(shí)！貝多芬的獨(dú)創(chuàng)風(fēng)格似乎超越了鋼琴的局限，因而以巨大的難度向演奏者挑戰(zhàn)。他往往在這些段落運(yùn)用賦格和戲劇性的朗誦。五首奏鳴曲都表現(xiàn)出對發(fā)展技巧的極大興趣。貝多芬晚期的創(chuàng)作，明顯傾向于曲式結(jié)構(gòu)的完全自由，擺脫一切傳統(tǒng)規(guī)則。晚期的五首奏鳴曲確認(rèn)了貝多芬晚年偉大的創(chuàng)造性天才。在這第二個(gè)時(shí)期里，貝多芬表現(xiàn)出生理和心靈的成熟。他開始以完全的自由來處理這種形式的基本輪廓，使它們服從于他想象力的驅(qū)使。在貝多芬（32歲開始~47歲）這個(gè)時(shí)期，他堅(jiān)決地著力于改變奏鳴曲的形式，以創(chuàng)造一種有更加巨大容量的奏鳴曲。主題的對比，好象戲劇中的主人公所擔(dān)任的角色，有力地表達(dá)著貝多芬音樂中的種種強(qiáng)烈感情。它不僅優(yōu)雅和精致，而且很快有了更加嚴(yán)肅的創(chuàng)作意圖。在許多情況下，貝多芬重新安排各個(gè)樂章。貝多芬經(jīng)常用諧謔曲，一個(gè)活潑、隨想的樂章來取代小步舞曲。然而逐漸地隨著他天才的成長，他的獨(dú)創(chuàng)性縱情于尋求更多的自由，并預(yù)示著即將到來的根本變化。期刊2002年的《鋼琴藝術(shù)》中第112期中，朱雅芳具體論述了貝多芬的作品按照慣例被分為三個(gè)時(shí)期，每個(gè)時(shí)期都有它的風(fēng)格特點(diǎn)。 《外國音樂名作快讀》陳康平講到貝多芬的鋼琴奏鳴曲與前人相比，具有更寬廣的表現(xiàn)力、更突出戲劇性的音樂效果。 在《我的音樂手冊》中吳維忠提到鋼琴奏鳴曲是一種鋼琴演奏的套曲，它是歐洲古典音樂中常用的大型、多樂章的鋼琴作品結(jié)構(gòu)形式。s piano sonata, has more broad expressions , stress the dramatic music result even more. The pass of piano performance has been expanded , the contrast of dynamics has been strengthened, the skill of the finger has been improved, and has also strengthened the contrast factor within the sonata form structure , has expanded the contradiction conflict of the launching department and motive force of development. The 14th moonlight sonata distributes and offends people39。s piano sonataSummary : 32 piano sonata known as pianist New Testament pandect of Beethoven, writing time is over 30 years, on the style of the music and spiritual content, regarded as Beethoven39。這個(gè)特權(quán)就是：不論獻(xiàn)身音樂者或是門外漢都同樣喜愛它；只要世間還存在著能聆聽的耳朵，能愛能愁的心，人們就會(huì)一直喜愛它。老實(shí)說，它真是好聽，但又真是難以讀通?。ㄓ蟹N解釋說這是貝多芬為一場失敗的愛情而作，但這在紀(jì)念此曲問世200周年的研究中也被否定。力求創(chuàng)新這種以內(nèi)容決定形式的創(chuàng)作手法，給予后來的浪漫主義的樂派很大的啟迪，直到今天還是值得我們學(xué)習(xí)的。奏鳴曲式放在第三樂章。尾奏較為長大，第一主題后是減七和弦的琶音，第二主題后有幻想式的琶音與裝飾奏，最后有一剎那邊成慢板，但很快又返回急板，在猛烈的上升最強(qiáng)奏中全曲告終。進(jìn)入發(fā)展部后，兩個(gè)主題都照順序加以變化，彼此交錯(cuò)。這第二主題是歌唱般的哀怨曲調(diào)，跟非旋律式的第一主題形成鮮明的對比，且立即發(fā)揮了精彩的緩和作用。當(dāng)?shù)诙氛乱粡椡?，立刻不間歇地出現(xiàn)激動(dòng)升騰的第一主題。這個(gè)樂章具備堂皇的結(jié)構(gòu)、驚人的音響效果、以及充實(shí)的音樂內(nèi)容，是貝多芬寫作的鋼琴音樂中，表現(xiàn)力與升騰力最為精彩的作品。 第三樂章是急板，升c小調(diào)，4/4拍子，奏鳴曲式。中段主題也用降D大調(diào)作成，有拖曳般的切分節(jié)奏。馬克思為了使這首奏鳴曲能跟朱列塔的愛情連串起來，于是形容這個(gè)樂章是“別離之歌”：“哦，請勿忘我！我永遠(yuǎn)思念你！再見了，再見了。在嚴(yán)肅的第一樂章和激動(dòng)的終曲之間，貝多芬安插了一段典雅、抒情、可愛的短小音樂，他在這里只記下速度記號(hào)，在性格上既非諧謔曲也不是小步舞曲。這時(shí)第二主題改在升c小調(diào)上露臉，最后像夕陽西沉般，在持續(xù)著低音基本動(dòng)機(jī)的尾奏中慢慢消失。從第一主題開始的中段，很像是短小的發(fā)展部，這時(shí)三連音的琶音作出曲折變化的爬開，躍入高音域，顯示不安的情緒，也