Ludwig van Beethoven's Piano Sonata No. 22 in F major, Op. 54, was written in 1804. It is contemporary to the first sketches of the Symphony No. 5 in C Minor. It is one of Beethoven's lesser known sonatas, overshadowed by its widely known neighbours, the Waldstein and the Appassionata .[ citation needed ]
The sonata consists of just two movements:
Beethoven skips the opening and slow movements and moves on to a minuet in 3
4 time, with a modulating trio. Anton Kuerti refers to this piece as a parody of uncreative composers, while Andras Schiff refers to it as portraying "Beauty and the Beast." The first theme is written in a rigidly classical style with repetitive phrases that are a caricature of elegance, while the second consists of a bombastic canon in octaves. The movement gradually increases in activity when it garners variations for its main theme. This first movement is in ABABA form where A and B are strongly contrasted themes. Theme A is of minuet dance type in F major that one might find in Joseph Haydn. In contrast, theme B, the trio, is a succession of forte triplets in C major that are played by both hands staccato or legato; the triplets are in octaves (and later in sixths) and with a dialogue between the left and right hands and with many sforzandi to interrupt the meter. The A section repeats in a whole, with a slight variation. Then the B, the trio section, reappears, this time in the tonic key of F major and of considerably shorter length. The opening A theme reappears with more ornaments. After an extended group of trills, there is a brief coda.
The finale, again in F major, is a cheerful moto perpetuo sonata form movement in 2
4 time with a monothematic exposition. "If the first movement was constipated, then the second movement suffers from the opposite ailment." (Anton Kuerti) This is shown in the piece, as the main melody has a non-stop continuous, sixteenth-note pattern that does not stop for even a second in this piece. The exposition, contains only one brief theme as it is written above. It starts on F major and modulates to C major, which is the key that ends the exposition. The development is long and extended. It starts on A major and modulates to many different keys, as it passes through a great climax and ends in the tonic key, when the retransition is heard and the development section ends. The recapitulation starts in the tonic like the exposition. However, instead of being in F major and C major, this time the theme modulates through more keys and is more extended. The recapitulation ends in F minor, the parallel minor of the tonic, in which bouncy but suspenseful syncopated notes are heard between both hands. The piece becomes more agitated in the faster coda, in F major, keeping a forward motion till the end.
The Sonata is remarkable in its concision, a precursor in some ways to the Sonata in E major, Opus 109. The two movements present opposite faces on many levels:[ citation needed ]
Donald Tovey writes:
...the whole work is profoundly humorous, with a humour that lies with the composer rather than with the childlike character portrayed by the music. No biographical details are known as to whether Beethoven thought of any person or household divinity in connection with this sonata; but its material is childlike, or even dog-like, and those who best understand children and dogs have the best chance of enjoying an adequate reading of this music; laughing with, but not at its animal spirits; following in strenuous earnest its indefatigable pursuit of its game whether that be its own tail or something more remote and elusive; and worthily requiting the wistful affection that is shown so insistently in the first movement and even in one long backward glance during the perpetuum mobile of the finale.
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. 16 in C major, K. 545, by Wolfgang Amadeus Mozart was described by Mozart in his own thematic catalogue as "for beginners", and it is sometimes known by the nickname Sonata facile or Sonata semplice.
Symphony No. 44 in E minor, Hoboken I/44, was completed in 1772 by Joseph Haydn. It is popularly known as Trauer. An apocryphal story relates that Haydn asked for the slow movement of this symphony to be played at his funeral.
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.
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.
The Piano Quintet in F minor, Op. 34, by Johannes Brahms was completed during the summer of 1864 and published in 1865. It was dedicated to Her Royal Highness Princess Anna of Hesse. As with most piano quintets composed after Robert Schumann's Piano Quintet (1842), it is written for piano and string quartet.
Sonata rondo form is a musical form often used during the Classical and Romantic music eras. As the name implies, it is a blend of sonata and rondo forms.
In music, the three-key exposition is a particular kind of exposition used in sonata form.
The Piano Sonata No. 9 in E major, Op. 14, No. 1, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun, one of his patrons at that time. It was composed in 1798 and arranged for string quartet by the composer in 1801, the result containing more quartet-like passagework and in the more comfortable key of F major.
The Piano Sonata No. 18 in E♭ major, Op. 31, No. 3, is an 1802 sonata for solo piano by Ludwig van Beethoven. A third party gave the piece the nickname "The Hunt" due to one of its themes' resemblance to a horn call. Beethoven maintains a playful jocularity throughout much of the piece, but as in many of his early works, the jocular style can be heard as a facade, concealing profound ideas and depths of emotion.
The Piano Sonata No. 13 in B-flat major, K. 333 / 315c, also known as the "Linz Sonata", was composed by Wolfgang Amadeus Mozart in Linz at the end of 1783.
Ludwig van Beethoven's Piano Sonata No. 6 in F major, Op. 10, No. 2, was dedicated to the Countess Anne Margarete von Browne, and written from 1796 to 1798. It was published in Vienna by Joseph Eder in 1798.
Ludwig van Beethoven's Piano Sonata No. 1 in F minor, Op. 2 No. 1, was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his second and third piano sonatas in 1796.
Ludwig van Beethoven's Piano Sonata No. 2 in A major, Op. 2, No. 2, was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his first and third sonatas in 1796.
Beethoven's Piano Sonata No. 11 in B♭ major, Op. 22, was composed in 1800, and published two years later. Beethoven regarded it as the best of his early sonatas, though some of its companions in the cycle have been at least as popular with the public.
The six String Quartets, Op. 76, by Joseph Haydn were composed in 1797 or 1798 and dedicated to the Hungarian count Joseph Georg von Erdődy (1754–1824). They form the last complete set of string quartets that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II and was composing the oratorio The Creation as well as Princess Maria Hermenegild Esterházy's annual mass.
Wolfgang Amadeus Mozart's Piano Sonata No. 10 in C major, K. 330 / 300h, is one of the three works in the cycle of piano sonatas K.330-331-332. The sonata was composed in 1783, when Mozart was 27 years old. It was published, with the other two sonatas by Artaria in 1784. A typical performance of this sonata lasts around twenty minutes.
Franz Schubert's last three piano sonatas, D 958, 959 and 960, are his last major compositions for solo piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.
The six string quartets Op. 20 by Joseph Haydn are among the works that earned Haydn the sobriquet "the father of the string quartet". The quartets are considered a milestone in the history of composition; in them, Haydn develops compositional techniques that were to define the medium for the next 200 years.
The String Quartets, Op. 50, were composed by Joseph Haydn in 1787. The set of six quartets was dedicated to King Frederick William II of Prussia. For this reason the set is commonly known as the Prussian Quartets. Haydn sold the set to the Viennese firm Artaria and, without Artaria's knowledge, to the English publisher William Forster. Forster published it as Haydn's Opus 44. Haydn's autograph manuscripts for Nos. 3 to 6 of the set were discovered in Melbourne, Australia, in 1982.
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