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Short title: Untitled; File change date and time: 11:44, 25 July 2007: Date and time of digitizing: 11:44, 25 July 2007: Software used: LilyPond 2.10.25: Conversion program
She was a friend and student of Beethoven's to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816. [12] The piano sonata no. 24 , dedicated to Countess Thérèse von Brunswick , is also referred to sometimes as "für Therese".
"Für Elise" (German: "For Elise") is the popular name of the "Bagatelle in A minor", WoO 59, a work for solo piano written by Ludwig van Beethoven in about 1810. The work is widely familiar and has been frequently adapted for use in works of popular culture. This article is a listing of such uses.
Free online. Nietzsche’s Lenzer Heide Notes on European Nihilism. July 2020. Translation and essays by Daniel Fidel Ferrer. Free online. Nietzsche’s seven notebooks from 1876. 2020. Translation by Daniel Fidel Ferrer. Free online. Nietzsche’s Last Twenty Two Notebooks: complete [1886-1889] January 2021. Translation by Daniel Fidel Ferrer.
The sonata is widely viewed as one of the most important works of the composer's third period, a pivotal work between his third and late period, [1] and among the greatest piano sonatas of all time. It is also considered to be Beethoven's most technically challenging piano composition and one of the most demanding solo works in the classical ...
Friedrich Wilhelm Nietzsche [ii] (15 October 1844 – 25 August 1900) was a German classical scholar, philosopher, and critic of culture, who became one of the most influential of all modern thinkers. [14] He began his career as a classical philologist before turning to philosophy.
Nietzsche read the work, of which a large part is a criticism of Schopenhauer's metaphysics, while he was parting ways with Schopenhauer. [5] Nietzsche kept an interest for the philosopher: among his books was Mainländer, a new Messiah, written by Max Seiling, published a decade later. [6]
Nietzsche continues, and then adds that Wagner's music has revealed "some very minute and microscopic aspects of the soul … indeed he is the master of the very minute. But he does not want to be that!" Nietzsche suggests with a metaphor that Wagner prefers to create large works: "His character prefers large walls and audacious frescoes." [8] [9]
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