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The variations have been called "Beethoven’s most overt pianistic homage to the Baroque." [2] The variations differ in character, technical difficulty and dynamics. Pianist Yue Chu points out that the key of C minor indicates that "Beethoven was serious when composing this work," despite his apparent misgivings later. [3]
The Piano Sonata No. 32 in C minor, Op. 111, is the last of Ludwig van Beethoven's piano sonatas. The work was written between 1821 and 1822. Like other late period sonatas, it contains fugal elements. It was dedicated to his friend, pupil, and patron, Archduke Rudolf. The sonata consists of only two contrasting movements.
The Bagatelles, Op. 33, for solo piano were composed by Ludwig van Beethoven (1770–1827) in 1801–02 and published in 1803 through the Viennese publisher Bureau des arts et d'industrie. The seven bagatelles are quite typical of Beethoven's early style, retaining many compositional features of the early Classical period
A minor. Vivace moderato: This bagatelle is a waltz, and uses Ternary form without a Coda. The piece is uses the following harmonic progression of I – ♭II6- V7 – I. [10] A major. Allegramente: The shortest piece Beethoven published at just 13 measures long. [11] The piece uses two 4 bar phrases, and ends with a 4 bar coda. B ♭ major.
Title page of Beethoven's symphonies from the Gesamtausgabe. The list of compositions of Ludwig van Beethoven consists of 722 works [1] written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only eleven years old and still in Bonn, until his last work just before his death in Vienna in 1827.
Portrait of Nikolaus Johann van Beethoven, the composer's younger brother and the dedicatee of the six bagatelles, c. 1841, by an unknown artist. A bagatelle, in Beethoven's usage, is a kind of brief character piece. [citation needed] The set comprises six short works, as follows: Andante con moto, Cantabile e compiacevole, G major, 3 4
During the Classical era, C minor was used infrequently and often for works of a particularly turbulent cast. [citation needed] Mozart, for instance, wrote only very few works in this key, but they are among his most dramatic ones (the twenty-fourth piano concerto, the fourteenth piano sonata, the Masonic Funeral Music, the Adagio and Fugue in C minor and the Great Mass in C minor, for instance).
The four-bar phrases that open these pieces are almost identical in most musical aspects: key, harmony, voicing, register, and basic as well as harmonic rhythm. Another less immediate connection exists with the main theme, also in A ♭ major, of the Adagio movement in Schubert's piano sonata in C minor, D. 958. Indeed, Schubert may have ...
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