Piano Sonata No.1, Op.2 No.1 (Beethoven, Ludwig van)
Stuttgart: J. Cotta , n. John Henry Cornell , English text. Cotta , Ed. Schirmer , No. Peters , n.
Chopin: Polonaise Nos. & Piano Sonata No. 3
Vienna: Universal Edition , Complete Piano Sonatas, Vol. Klaviersonaten, Band I Berlin: Ullstein, n. Sonate per pianoforte, Vol.
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Plate E. Editing: re-sampled to dpi, converted to black and white tif files, de-skewed, and set uniform margins. See Sonate per pianoforte for complete volumes including preface. Plates , Klaviersonaten, Band I pp. Henle Verlag , Editor RSB. Editor Stelios Samelis. Mutopia Project, Arranger Alexander Brand fl. Arranger Jean-Marc Bouillet.
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The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. In the symphony, he reveals serial tendencies within broadly tonal frameworks and elements of through-composition. The sonata is teeming, iconoclastic, uncompromising—youthful genius at full flood, capable of staggering listeners a century after it was written. The sonata centres upon C major, with strong pulls to the opposite tonality of F sharp.
SCHUMANN Piano Sonata No. 1, Op. 11 etc
The work begins angrily, full of hot-headed impetuosity, with a diverging two-part invention, its fierce chromaticism hiding a genuine eleven-note row. The structure is more easily grasped: from this tempestuous beginning, the music generates greater power and concentration until it seems fit to burst with unmitigated energy.
In a passage of thrilling tensile strength C major is assailed from all sides before being engulfed by an unremitting attack which finally tumbles to three low F sharps. From this point, meno mosso, the F sharp tonality dominates much of that which follows. Slowly, inexorably, the music moves with measured tread and falls, with infinitely lesser force, to a low-held G minor chord against which F and F sharp oscillate below.
A far-reaching point is glimpsed, but a sudden allegro, beginning on a repeated F sharp, moves upwards as though the tonality has tricked us, an impression seemingly confirmed by massive repeated C sharps in the bass over an A—D tremolando. The exposition ends with a finale full of buoyant V-I syncopated action in A flat major. However, it is in the development section that Beethoven harnesses his unique sound.
Here, we already have the utilization of soundscapes outside the scope of the Mozartian style. Beethoven introduces the main theme in a proper key, A flat major, but then introduces a series of key and sonority shifts that cycles an impressive five times before landing back on F minor.
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Yet, B was much capable of expressing serenity and simplicity. Movement II, a slow adagio in F major, exudes a soft tenderness. Our main theme feels as if it is floating through the clouds, never venturing below middle C. Even the clouds of theme B, although accumulating some minor key moisture, ultimately does not precipitate.
They lighten back into the A theme for our recapitulation which joyfully sails home. After a short dance-like minuet and trio, movement IV, in true Beethovian fashion, roars out of the gates with non-stop virtuoso left-hand triplet arpeggios. With Op.
As with with the Op. Tweet Recent reviews by this author. Robert Schumann Toccata in C, Op. Eminem Kamikaze.
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