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E-flat major was the second-flattest key Mozart used in his music. For him, E-flat major was associated with Freemasonry; "E-flat evoked stateliness and an almost religious character." [4] Edward Elgar wrote his Variation IX "Nimrod" from the Enigma Variations in E-flat major. Its strong, yet vulnerable character has led the piece to become a ...
The score of the E-flat major version of Bach's Magnificat was first published by Simrock in 1811, edited by Georg Pölchau, however without the Christmas hymns. [ 35 ] [ 36 ] These were published in 1862, in the appendix of Volume 11/1 of the Bach-Gesellschaft Ausgabe , a publication that contained the D major version of the Magnificat (and ...
Antonio Vivaldi used this key for the "Spring" concerto from The Four Seasons.. Johann Sebastian Bach used E major for a violin concerto, as well as for his third partita for solo violin; the key is especially appropriate for the latter piece because its tonic (E) and subdominant (A) correspond to open strings on the violin, enhancing the tone colour (and ease of playing) of the bariolage in ...
In fact, apart from Nos. 7 and 8, the first series (Op. 10) is made of couples of études in a major key and its relative minor (the major key either preceding the minor key or following it) with none of the tonalities occurring twice (except for C major, which appears in No. 1 and then in the only couple which is not major-minor, i.e. Nos. 7 ...
Piano Quartet in E major (Saint-Saëns) Piano Quintet No. 2 (Farrenc) Piano Sonata in E major, D 157 (Schubert) Piano Sonata in E major, D 459 (Schubert) Piano Sonata No. 9 (Beethoven) Piano Sonata No. 30 (Beethoven) Piano Trio No. 4 (Mozart) Piano Trio No. 44 (Haydn) Prelude (Toccata) and Fugue in E major, BWV 566
The second section starts at m. 10, and ends at m. 25. It is a chorale, in the style of four-part harmony, introducing theme II. [4] The third section starts at m. 25 and lasts until the end. It is a four-voice double fugue, and the first subject is introduced in the alto (theme I extended), second subject in the bass (theme II).
The theme appears in the development with the piano in A ♭ major, B ♭ minor, C minor, and then in C major by the oboe. The movement ends with two E ♭ major chords. The second movement is often marked Larghetto, but the indication is missing from the autograph.
Symphony in E major (two movements sketched but abandoned in 1834, completed by Felix Mottl in 1887) Karl Weigl: Symphony No. 1, op. 5 (1908) [40] [41] Felix Weingartner: Symphony No. 3, op. 49 with organ (1908–10)