Sonata

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In order to explore the career of Ludwig van Beethoven, and his ‘bridging the gap’ between the classical and romantic eras of music, this essay will examine the style of music and its features, most commonly associated with the Classical era (1750-1820), and those of the Romantic era (1815-1820) . It will look at some musical examples from Beethoven’s work, how they fit into each of the eras, and also how they transition from one era to the next. Beethoven’s career spans both eras mentioned above

“Waldstein” Sonata First Movement Piano Sonata No. 21 in C major, Opus 53 is one of the most technically challenging and compositionally ambitious piano sonatas by Beethoven. The name of the sonata, “Waldstein”, is derived from Beethoven’s dedication, Count Ferdinand Ernst Gabriel von Waldstein of Vienna, a long time close friend and patron of the composer. Composed from 1803 to 1804, it is one of the most important pieces of Beethoven’s middle period and surpasses all the earlier sonatas in scope

The Woodwind Sonatas of Paul Hindemith Hollie Hosier Graduate Research in Music December 13, 2017 The Woodwind Sonatas of Paul Hindemith Most composers have certain types of music that they prefer to compose, whether it is composing using certain instrument types or composing certain styles or genres of music; many composers have their niche. Paul Hindemith, being a string player, naturally was comfortable composing music for string instruments, and because of that, he has large a number of compositions

basic elements that make up a concerto include three movements with one movement usually dedicated for a solo instrument such as the piano or violin with orchestra accompaniment. Since the late 18th century, the first movement is most likely in the sonata form

Second, I will talk about the form in these horn concerti. In classical period, sonata form was very famous and every composer in this era liked to use this form. Exposition has two themes in different key. Normally second theme is the dominant key of the first theme. Transition is between first and second themes. Composer in classical era always put same key when exposition ended. Development opening always the same key of the exposition ended and puts many different keys in. The end of development

I will be taking the first movement of two different sonata’s and compare and contrast them. The first one is Muzio Clementi’s Sonata Op.25 No.2. The second one will be Wolfagang Amadeus Mozart’s Sonata No.5. Clementi’s Sonata Op.25 No.2 First movement starts in G Major in 4/4 time. Theme one starts in the tonic. The first 2 measures I call (A) since it is clearly different from what follows. The (B) section repeats itself with variation. Both ending in a IAC. The (C) section of theme one

He composed his 555 well-known keyboard sonatas for the queen during this period of time. These pieces were mostly written to be played on the harpsichord or the early pianofortes. Although most of the sonatas were composed in pairs, the D major sonatas, often performed together, formed a rare triptych of three sonatas. Sonata in D Major, K.491 is the second piece of the triptych, which was composed in 1756-1757. Similar to most of his other sonatas, Sonata in D major is in the binary form (AB-AB)

that the development of sonata form during the Classical Era was revolutionary to the writing of music and there is a trend that in the majority of these popular solo piano pieces follow sonata form. Beethoven’s Pathétique Sonata op. 13 no. 8 in c minor. First movement: Grave
https://www.youtube.com/watch?v=i60LrIq3cr8
Beethoven, being a bridge between the Classical and Romantic eras, wrote many pieces influenced by both times. The Pathétique Sonata also follows a typical sonata form with 3 movements

fixed formal shape. Along with his contributions to the expansion of the orchestra he also adopted the formal structure of four movements for the symphony and started using a distinct development section in the first movements, which became known as sonata form. The opening movement is fast, followed by a slow second movement, the third movement would be a minuet and trio, and the fourth would end the symphony on a final Presto or Prestissimo