Programmer Notes sonata in C minor (patht;queue’), pop. 13 Beethoven (1770-1827) Grave; Allegro did molt e con brio Adagio cantabile Rondo: Allegro Beethoven’s ‘Pathtoque’ sonata was published in 1799 during what is referred to as his early period. At this time Beethoven was living in Vienna, supported by many generous patrons Including Prince Karl Loincloth’s, to whom this sonata Is dedicated. Beethoven’s early sonatas were written not only for artistic but also for pragmatic reasons.
As a performing pianist, Beethoven sought to push the boundaries of the rote Plano’ which was, at the time, still undergoing rapid development, having only been in popular use for around sixty years. Many of Beethoven’s sonatas worked to the extremes of the tonal range of the instruments of the day, and made full use of the dynamic range available, characteristically adjoining loud and soft sections to further accentuate the contrast. It has been suggested that the form for the Pathtitle sonata was Inspired by a piano sonata published two years earlier by Dusked (opus 35, number 3).
Both pieces are written in C minor, and the slow movement of Duke’s piece is marked ‘pathetic’, reaps giving an Insight into Beethoven’s naming of the piece. The Pathtoque Is one of only two piano sonatas that Beethoven named himself; the other being the sonata of opus 26 ‘Less Adieus’ or, as Beethoven preferred, ‘Ads Elbow’. The first movement of the sonata is prefaced with a Grave section, a feature commonly found In symphonic works but never before used In a piano sonata.
Sixteen bars later it makes way for the main section, in sonata form; it returns twice, albeit briefly, poignantly punctuating the movement. The second movement, in rondo form, provides relief from the mental anguish of the first. The opening cantabile section, In a major key, is twice displaced by themes set In minor keys: both times It prevails, bringing the music back to Its Orlando, tranquil, mood. The Rondo returns to the home key of C minor. Despite this, it presents a playful atmosphere, totally unlike that of the first movement; It Isn’t until the final moments that the mood of the opening returns. OFF Eric State (1877-1925) composed his first three Nosiness’s around 1890, without any time signatures or bar lines (often referred to as “absolute time”). Satire’s peculiar scores could be read as musical poetry and his tempo markings were devised from harass such as “lightly with intimacy’, “with radiance” and “make demands on pursers”, leaving the pianist to use their own musical interpretation in order to realize the composers intentions. The word “Engrossing” describes several pieces of music composed by State that did not fit into any of the existing styles of classical music like a piano prelude or a sonata.
Therefore, State solved this dilemma by simply titling the pieces with ‘Engrossing’, a word that State had created. Satire’s nosiness’s are often viewed as a musical continuation of his popular Trios Gymnosperms, though some musicologists believe they are more closely related to his Serenades. Either way, it’s apparent that music like this has never been composed before, making it easy to understand why such an enigmatic title was given to them. Fare Dolly Suite . Barbecues . Eel Jarring De Dolly rhea Dolly Suite, Pop 56, is a collection of six duet pieces for piano.
Fare composed them between 1894 and 1897, in honor of Helene, nicknamed Dolly, who was the daughter of his mistress at the time. The suite became famous for its enchanting and lyrical melodies. The Barbecues was composed for Heelless first birthday, and the imagining pieces also appeared in time for the child’s subsequent birthdays and other family occasions. The suite’s popularity grew when it became the closing music for the BBC Home Service radio programmer, ‘Listen with Mother’, which was broadcast from 1950 to 1982.
Mozart Piano Sonata in Flat Major KICK 1. Allegro 2. Andante cantabile 3. Allegretto gracious Mozart piano sonata in B flat major, number 13, KICK, was composed between 1779 and 1783 during his ‘early phase’ whilst living in Vienna. The sonata is full of agility and complexity and also reflects Mozart admiration of and influence by Johann Christian Bach, a contemporary of Mozart who died in 1782. Musical scholars familiar with both composers agree that the opening motif of KICK is very similar to Bach’s Pop. No. 3 and Pop. 17 no 4 piano sonatas. Another overall source of influence is the style of the concertos of the time, which was heavily ornamented, expressive and highly spirited. The first movement contains numerous concerto-issue flourishes that stray from the standard sonatas, thereby adding an element of boldness to the piece. The Allegro first movement is playful and lively. It’s simple melody is accompanied by repatriated style chords played in the left hand.
The theme is repeated and is then varied followed by a climax that builds slowly and ends with an arpeggio of F major. The recapitulation section begins by varying the main theme to a minor key. Finish There are eighteen surviving sonatas for solo piano by Mozart; a Norms, is due to Mozart being such an excellent improviser, a skill that was a prerequisite amongst keyboard players at the time. Mozart would often improvise new sonatas during performances, but only officially recorded the sonatas that he deemed fit for teaching and publishing purposes.