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Kopitz presents the finding by the German organ scholar Johannes Quack that the letters that spell Elise can be decoded as the first three notes of the piece. Because an E ♭ is called an Es in German and is pronounced as "S", that makes E –(L)–(I)– S – E : E –(L)–(I)– E ♭ – E , which by enharmonic equivalents sounds the same ...
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
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
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.
The German musicologist Klaus Martin Kopitz has suggested that Beethoven wrote his famous Bagatelle No. 25 for piano, commonly known as "Für Elise", in the days of Elisabeth Röckel's departure from Vienna. It had the inscription "Für Elise am 27 April zur Erinnerung von L. v. Bthvn" [For Elise on 27 April (1810) as memento by L. v. Bthvn ...
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The Fantasy for piano, vocal soloists, mixed chorus, and orchestra, Op. 80, usually called the Choral Fantasy, was composed in 1808 by then 38-year-old Ludwig van Beethoven. Beethoven intended the Fantasy to serve as the concluding work for the benefit concert he put on for himself on 22 December 1808; the performers consisted of vocal soloists ...
Carl Czerny wrote Variations on "Gott erhalte Franz den Kaiser" for piano and orchestra or piano and string quartet, his Op. 73 (1824). [10] Gioachino Rossini used the tune in the banquet scene of his 1825 opera Il viaggio a Reims for the German Baron Trombonok.