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The adagio sostenuto tempo has made a powerful impression on many listeners; for instance, Berlioz commented that it "is one of those poems that human language does not know how to qualify". [23] Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance". [1]
Adagio sostenuto [ edit ] The ternary-form slow movement, centred on F ♯ minor, has been called, among other things, a "mausoleum of collective sorrow", [ 15 ] and is notable for its ethereality and great length as a slow movement (e.g. Wilhelm Kempff played for approximately 16 minutes and Christoph Eschenbach 25 minutes) that finally ends ...
The first movement, marked Adagio sostenuto ed espressivo, begins with a G minor chord and the piano descending in a dotted scalar pattern. The cello starts a melodic theme in measure five, and the piano modulates to E♭ major in measure seven. The two instruments are in canon in measure 10. [2]
Ludwig van Beethoven's opus number 27 is a set of two piano sonatas.They were published separately [1] in March 1802. [2] Both sonatas are entitled Sonata quasi una Fantasia, which roughly translated as sonatas in the style of a fantasia.
From Sickness to Health: Narrative in Beethoven's Heiliger Dankgesang, lecture by Robert Kapilow on the third movement of Beethoven's String Quartet Op. 132, followed by a performance by the St. Lawrence Quartet; NPR - In Performance The Takacs Quartet on Beethoven's Message to God - Live recording of the 3rd movement of the String Quartet No. 15
Adagio sostenuto – Presto (A major – A minor, sonata form, about 15 minutes in length) The sonata opens with a slow 18-bar introduction, of which only the first four bars of the solo violin are in the A-Major-key.
Symphony No. 9 in D Minor, Op. 125, III: Adagio molto e cantabile / Beethoven; Rhapsody on a Theme of Paganini, Op. 43, Variation XVIII: Andante cantabile / Sergei Rachmaninov; Piano Sonata No. 14 in C♯ Minor, Op 27, No. 2 "Moonlight", I: Adagio sostenuto / Beethoven; Piano Sonata No. 8 in C Minor, Op. 13 "Pathetique", II: Adagio cantabile ...
The second movement is in ternary form (or sonata form without development [4]).It opens with a highly ornamented lyrical theme in 3 4 time in F major (mm. 1–16). This is followed by a more agitated, 5-measure transitional passage in D minor (mm. 17–22) accompanied by quiet parallel thirds, followed by a passage full of thirty-second notes in C major (mm. 23–31). [4]