Michael Talbot wrote of the finales typical in sonatas: "The rondo is the form par excellence used for final movements, and ... its typical character and structural properties accord perfectly with those thought desirable in a sonata finale of the early nineteenth century."[2]Carl Czerny (1791–1857) observed "that first movements and finales ought to—and in practice actually do—proclaim their contrasted characters already in their opening themes."[3]
In theatrical music, Christoph Willibald Gluck was an early proponent of extended finales, with multiple characters, to support the "increasingly natural and realistic" stories in his operas that "improved continuity and theatrical validity" beyond the earlier works.[4]
In music, an aria is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work.
The sonata form is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century.
The Piano Sonata No. 14 in C-sharp minor, marked Quasi una fantasia, Op. 27, No. 2, is a piano sonata by Ludwig van Beethoven, completed in 1801 and dedicated in 1802 to his pupil Countess Julie "Giulietta" Guicciardi. Although known throughout the world as the Moonlight Sonata, it was not Beethoven who named it so. The name grew popular later, likely long after Beethoven's death.
Carl Czerny was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils and would later on be one of the main teachers of Franz Liszt.
The rondo is a musical form that contains a principal theme which alternates with one or more contrasting themes, generally called "episodes", but also occasionally referred to as "digressions" or "couplets". Some possible patterns include: ABACA, ABACAB, ABACBA, or ABACABA.
The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.
The Symphony No. 8 in F major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as "my little Symphony in F", distinguishing it from his Sixth Symphony, a longer work also in F.
Johann Nepomuk Hummel was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era. He was a pupil of Mozart, Salieri and Haydn. Hummel significantly influenced later piano music of the 19th century, particularly in the works of Chopin, Liszt and Mendelssohn.
The Piano Quintet in E-flat major, Op. 44, by Robert Schumann was composed in 1842 and received its first public performance the following year. Noted for its "extroverted, exuberant" character, Schumann's piano quintet is considered one of his finest compositions and a major work of nineteenth-century chamber music. Composed for piano and string quartet, the work revolutionized the instrumentation and musical character of the piano quintet and established it as a quintessentially Romantic genre.
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these.
A ritornello is a recurring passage in Renaissance music and Baroque music for orchestra or chorus.
Cyclic form is a technique of musical construction, involving multiple sections or movements, in which a theme, melody, or thematic material occurs in more than one movement as a unifying device. Sometimes a theme may occur at the beginning and end ; other times a theme occurs in a different guise in every part.
Ludwig van Beethoven is one of the most influential figures in the history of classical music. Since his lifetime, when he was "universally accepted as the greatest living composer", Beethoven's music has remained among the most performed, discussed and reviewed in the Western world. Scholarly journals are devoted to analysis of his life and work. He has been the subject of numerous biographies and monographs, and his music was the driving force behind the development of Schenkerian analysis. He is widely considered among the most important composers, and along with Bach and Mozart, his music is the most frequently recorded.
The Cello Sonata No. 3 in A major, Op. 69, is the third of five cello sonatas by Ludwig van Beethoven. He composed it in 1807–08, during his productive middle period. It was first performed in 1809 by cellist Nikolaus Kraft and pianist Dorothea von Ertmann, a student of Beethoven. Published by Breitkopf & Härtel the same year, it was dedicated to Freiherr Ignaz von Gleichenstein, Beethoven's friend and an amateur cellist. The sonata was successful with audiences from the beginning.
Piano Sonata No. 1 in D minor, Op. 28, is a piano sonata by Sergei Rachmaninoff, completed in 1908. It is the first of three "Dresden pieces", along with the Symphony No. 2 and part of an opera, which were composed in the quiet city of Dresden, Germany. It was originally inspired by Goethe's tragic play Faust; although Rachmaninoff abandoned the idea soon after beginning composition, traces of this influence can still be found. After numerous revisions and substantial cuts made at the advice of his colleagues, he completed it on April 11, 1908. Konstantin Igumnov gave the premiere in Moscow on October 17, 1908. It received a lukewarm response there, and remains one of the least performed of Rachmaninoff's works.
The Symphony No. 34 in D minor was written by Joseph Haydn. According to traditional chronology it was written in 1765, shortly before Haydn's Sturm und Drang period began in 1766, during his social withdrawal at Esterháza. However, more recent chronologies place it two years earlier, in 1763, which if correct would suggest that it is the first minor-key symphony Haydn ever wrote, though there is some uncertainty around chronology, with Symphony No. 26 being the traditional candidate, and Symphony No. 39 another candidate.
Carl Maria von Weber's Concerto for Bassoon in F Major, Op. 75 was composed in 1811 for Munich court musician Georg Friedrich Brandt, was premiered on December 28, 1811, and then revised in 1822. Primarily an opera conductor and composer, Weber had only arrived a few months earlier in Munich, where he was extremely well received. The concerto is one of two pieces written for bassoon by Weber, the other being Andante e Rondo Ungarese, Op. 35. A typical performance lasts 18–20 minutes.
The Piano Sonata No. 2 in B minor, Op. 61 by Dmitri Shostakovich, the last of his piano sonatas, was composed in early 1943. It was his first solo piano composition since 1933, as well as his second attempt at composing a piano sonata in the key of B minor.
The Grand Duo Concertant, Opus 48, J204, is a three-movement work for clarinet and piano composed by Carl Maria von Weber from 1815 to 1816. It is a virtuosic piece for both instruments. Weber most likely composed the work for himself and his friend Heinrich Baermann, a leading clarinettist of the era, although it has also been suggested that the intended clarinettist was Johann Simon Hermstedt.
Claude Debussy's Six sonatas for various instruments was a projected cycle of sonatas that was interrupted by the composer's death in 1918, after he had composed only half of the projected sonatas. He left behind his sonatas for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1916–1917).
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