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Piano Sonatas Nos. Frederic Chopin: Sonatas for Piano Op. Sheet music sales from Europe 41 scores found for "Piano Sonata No. Sketches by Ludwig van Beethoven of the following compositions, about — 1. Part of the Andante cantabile con Variazioni from the string quartet in A, op. Presto 'In einem quartett,' in C sharp minor. Fragments of songs by Beethoven; from a Sketch-book. Two copies, the first signed 'ipse fecit L. Song ['Ah, perfido'; op. Pianoforte solos in the hand of Beethoven about — chiefly sketches.
Included are the following:— 1. Piece unnamed [Rondo of G minor sonata, op. Another [first eight bars of the fugue in G minor by Handel]. Sonata in G. Piece unnamed [Variations on 'Nel cor phi,' about ]. Another [Sonata in E flat, op. Nottebohm's 'Zweite Beethoveniana', pp. Piece unnamed [Sonata in E, op.
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Beginning of Sonatina [in G minor, op. Piece unnamed [part of the Rondo from the Sonate pathetique, op. In a later hand. Fragment headed 'Zum Andante. Zu der aus dem c moll bleibt das Presto weg' see also f. Sketches for Sonata in G op. Minuet in E flat. Piece unnamed [opening movement of the Moonlight sonata, op.
The fugue culminates in a flurry of scales and trills. Born just a year apart, they also shared during their lifetimes a deep common interest in music of their homeland, and conducted extensive scholarly research into music of the Hungarian gypsies and peasants in addition to that of surrounding countries.
Autograph List » Center for Beethoven Research | Boston University
As such, they were among the first important ethnomusicologists. For cello and piano his catalogue includes, in addition to the work on this program, a Romance lyrique, a Sonatina and a Hungarian Rondo originally with orchestra. For unaccompanied cello there is a capriccio and a sonata, and for violin and cello a Duo. A rhapsodic air prevails in the opening movement as it unfolds in a series of juxtaposed sectional divisions.
The first sounds are for the cello alone, a rising motif that will prove to be a key structural element in both movements of the sonata. Its descending version is equally important. In contrast to the darkly ruminative, moody Fantasia, the exuberant second movement is powerfully rhythmic and infused with the spirit of the dance. Yet, as in the case of the just-mentioned symphonies, the work seems complete despite its outward appearance as a torso. It makes for a most satisfying feeling of closure. Brahms wrote three movements in , then put the work aside until , when he wrote a finale. However, when the sonata was published in , the composer suppressed the Adagio movement, leaving a sonata in three movements only.
To carry the Bach connection a step further, some listeners hear in the main theme of the first movement a resemblance to Contrapunctus III as well. Yet Brahms welds fugue and sonata form into a movement of structural integrity and sustained momentum. Even the concerto principle comes into play, with the two contending forces of cello and piano struggling mightily for supremacy as the sonata races to its tumultuous conclusion.
Murray Perahia first came onto my radar in when he won the Leeds International Piano Competition. It was one of the most memorable concert experiences of my life. I was with a friend with whom I had studied music at university in South Africa, and the two of us left the hall speechless.
Two years later the VRS was 5 years old Murray Perahia played a recital in Portland on a small, but wonderful piano series. How envious was I when I found out that the only way the series was able to present Mr. Perahia was through the generosity of one of their subscribers who was a Murray Perahia fan, and was determined to get him to Portland at any cost. Finally, three years later I plucked up the courage to engage Murray Perahia.
Regrettably, he had to cancel as he came down with the flu in New York City. He played his first performance for us the following year at the Orpheum and has returned to our series several times since. I have had the immense pleasure of having him practice in my home, and so has our sponsor, Martha Lou Henley. On one occasion he needed a break and went for a walk. Fortunately, back in those days the VRS office was located in the basement of my home, so I was able to leave the house to search for him. I did find him wandering around the side streets of Shaughnessy.
On another occasion he came to Vancouver for a concert at the time of the famous summit. We had booked him into the Four Seasons Hotel, which we then had to cancel as the Summit leaders had taken over the hotel. We re-located him to the Waterfront Hotel and let his management know. I waited at the airport for five hours, calling every hotel in town every 30 minutes to see if he had checked in. Finally, the Wedgwood Hotel said that they had just found a room for a Mr. I asked them to send someone up to lock his door and not let him out until I arrived!
Each and every concert by Murray Perahia is a revelation and a deeply moving experience. I am so thankful that I have been a concert presenter at a time when Murray Perahia is at his prime. Like many of the great composers before him Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others , Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful career as such. His graduation exercise from the Leningrad Conservatory, the First Symphony, catapulted him at the age of twenty to worldwide attention, and he decided to devote the bulk of his efforts to composition.
Significantly enough, the First Symphony contained a prominent part for the piano. Shostakovich continued to write music for his instrument throughout his twenties — about half his output during these years was for or with piano — which he also performed. Thereafter, coinciding with the sharp reduction of his performing activity, he wrote only seldom for solo piano.
Sonate No. 14, “Moonlight” 3rd Movement
Among the works of his later years was the monumental set of 24 Preludes and Fugues, Op. The inspiration came principally from Bach, as it has for similar sets from other composers: Hans Huber, Castelnuovo-Tedesco for guitar duo and Niels Viggo Bentzon for preludes and fugues together; Chopin, Scriabin, Busoni, Debussy, Rachmaninoff and Shostakovich himself Op. In , Shostakovich was sent by his government as the head of a Soviet delegation to East Germany for the ceremonies surrounding the bicentenary of the death of Johann Sebastian Bach.
Among the events was a piano competition in Leipzig, where Shostakovich sat on the jury.
Clarinet Sonata, Op.14 (Marohnić, Luka)
One of the contestants was the year-old Tatyana Nikolayeva, whose playing of the Well-Tempered Clavier so impressed Shostakovich that upon returning to Moscow, he undertook to create a similar work himself. The cycle was not given as a unit until a year later when Tatiana Nikolayeva performed it at the same venue in two sessions, on December 23 and 28, He himself never did so, though he recorded all of it. He did often perform the preludes and fugues in groups of three to six, as have many other pianists, notably Sviatoslav Richter and Emil Gilels.
Selected numbers have been arranged for such diverse instruments as organ, accordion, double bass with piano and string orchestra. They are 24 masterpieces, each with its own internal world. Take for example the first fugue C major , which employs only the white keys of the piano throughout, or the seventh A major , whose subject is built entirely from a major triad.
In the preludes too, there is in each one a sense of experimentation, of compressing a single idea into a few pages of music to see where it will go. Chordal writing alternates with flowing chromatic passages. The fugal subject is built almost entirely from the intervals of the fourth and the fifth. The five-note rhythmic cell upon which it is based recalls a jocular passage from the third movement of the Fourth Symphony.
The Fugue is actually a double fugue.
Two separate subjects are introduced in turn the second in slightly faster tempo , then are combined fortissimo in a towering musical edifice. The fugal subject is based entirely on the notes of the tonic chord A — C-sharp — E. The Fugue too incorporates this rhythmic figure into its fold. The subject is exceptionally long — nine measures — and thereafter unwinds in three-part texture to an unrelenting tread and highly dissonant harmony.
This Prelude is also notable for its extremes of range, which cover nearly the entire keyboard; three staves are required to notate it. The Fugue is the only one of the 24 in two voices only, and exudes an atmosphere of joy and exuberance. Many listeners hear in it strong reverberations of a Bach two-part invention. In fact, it, as well as its Fugue, is often regarded as the most Bachian of the set.
For sheer, unabashed joy and an almost reckless sense of abandon, the Fugue is hard to beat. The intellectual rigor with which Shostakovich creates a fugue from his angular, raw-boned subject is truly awe-inspiring. Thus, the stage is set for the culmination of the first volume. Skip Content? Stay Tuned! Sign up to get free in-depth coverage on up and coming artist and more! Notes by Donald G. Johannes Brahms: Three Intermezzi, Op.
Moonlight Sonata Mvt. 3
Program notes by Robert Markow, Claude Debussy: Sonata for Cello and Piano Few works of Claude Debussy bear generic titles like symphony, quartet, concerto or sonata. Ludwig van Beethoven: Cello Sonata no. Johannes Brahms: Sonata for Cello and Piano no. Program notes by Robert Markow.