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The Piano Sonata No. 19 in G minor, Op. 49, No. 1, and Piano Sonata No. 20 in G major, Op. 49, No. 2, are short sonatas by Ludwig van Beethoven, published in 1805 (although the works were actually composed a decade earlier in early to mid 1797 [1]). Both works are approximately eight minutes in length, and are split into two movements.
Piano Sonata No. 9 in E major (Also arranged by the composer for String Quartet in F major (Hess 34) in 1801) Piano Sonata No. 10 in G major; Opus 22: Piano Sonata No. 11 in B-flat major (1800) Opus 26: Piano Sonata No. 12 in A-flat major (1801) Opus 27: Two Piano Sonatas (1801) Piano Sonata No. 13 in E-flat major 'Sonata quasi una fantasia'
Piano Sonata No. 20 may refer to: Piano Sonata No. 20 (Beethoven) Piano Sonata in B-flat major, K. 498a, formerly considered Piano Sonata No. 20 by Mozart;
Piano Sonata in G major may refer to: Piano Sonata No. 10 (Beethoven) Piano Sonata No. 16 (Beethoven) Piano Sonata No. 20 (Beethoven) Piano Sonata No. 25 (Beethoven) Sonatina in G major (attributed to Beethoven) Piano Sonata No. 2 (Hindemith) Piano Sonata No. 5 (Mozart) Piano Sonata in G major, D 894 (Schubert) Piano Sonata in G major (Tchaikovsky)
Beethoven's Piano Sonata No. 10, Andante. On the other hand, in the theme of the Arietta movement that concludes his last piano sonata, Piano Sonata No. 32, Op. 111 (1822), Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:
Keyboard Sonata No. 20 may refer to: Piano Sonata Hob. XVI/18, L. 20, in B-flat major, by Haydn; Piano Sonata Hob. XVI/20, L. 33, in C minor, by Haydn
Piano Sonata No. 15 in D major, Op. 28, is a piano sonata by Ludwig van Beethoven. The name Pastoral or Pastorale became known through A. Cranz publishing of Beethoven's work, but was first coined by a London publisher, Broderip & Wilkinson . [ 1 ]
It then swiftly ascends, followed by a three-note descent in the middle register and a four-note descent in the upper. This phrase is then repeated starting on B ♭ major – a whole tone lower – a device Beethoven also used for the opening of the Sonata No. 16 in G Major (Op. 31 No. 1). [3]
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