On The Second Composition Of The Third Movement Of Beethoven’s Piano Sonata No.31 In A Flat Major,Op.110

Piano Sonata In Flat A Major OP.110 is a classic work of Beethoven in his later years.It is the focus of academic circles in terms of creation techniques,performance techniques and the expression of musical connotation,so it deserves our attention.This paper takes the third movement of Piano Sonata in A Flat Major Op.110 as the research object to analyze its music creation and music performance characteristics.The first part is the introduction,which summarizes the origin of the topic,the research status,and the research ideas and methods of the paper.The second part is the body part,chapter two,first of all,the author in schnabel compiled for the analysis of the Beethoven piano sonata set text object,for the work of the third movement creating background,melody structure and characteristics were analyzed in aspects of music creation,secondly,from the perspective of the second creation the work sound implementation.On the one hand,this paper analyzes the third movement of Beethoven’s Piano Sonata in A Flat Major Op.110 from the perspective of aesthetic expression of "second creation",mainly from two aspects: the grasp of structure and the creation of tone.On the other hand,it analyzes the works from the technical level of the important and difficult points of the actual performance,mainly from the pedals,the uniformity of finger running and the different levels of key-touching skills between the multi-part music.The third part is the conclusion,which is obtained from the author’s research experience.The author thinks: first,strength is mainly based on the creation characteristics of Beethoven’s strength--sharp contrast of strength and frequent changes of strength to view the musical performance.In addition,the musical performance of this work can also be viewed through the image processing of strength.Second,the author concluded through research that the speed of Beethoven’s performance was not necessarily the speed he wanted.Players can create according to the creation intention of the work combined with their own performance experience.Finally,the author combined with his own performance experience from the piano players need to overcome the difficult and important piano performance technology to see how to achieve the second creation of the actual acoustic creation.