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The first movement, [c] in C ♯ minor and alla breve, is written in modified sonata-allegro form. [22] Donald Francis Tovey warned players of this movement to avoid "taking [it] on a quaver standard like a slow 12 8 ". [19] The movement opens with an octave in the left hand and a triplet figuration in the right.
The first sonata remains far less performed than the second and the two sonatas are not commonly performed together. They are named so for their only loose adherence to the sonata form. The first movement of both sonatas are slow and lacking in full sonata form. The second movements are scherzos. The sonatas differ in structure in the third ...
Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement (Scarlatti, Liszt, Scriabin, Medtner, Berg), others with two movements (Haydn, Beethoven), some contain five (Brahms' Third Piano Sonata, Czerny's Piano Sonata No. 1, Godowsky's Piano Sonata) or even more movements ...
File:Beethoven Moonlight 1st movement.ogg: 6:00 First Movement created in MIDI and played on a digital piano. Not Featured File:Beethoven Moonlight 2nd movement.ogg: 2:05 Second Movement created in MIDI and played on a digital piano. Featured File:Beethoven Moonlight 3rd movement.ogg: 6:55 Third Movement (Presto agitato) created in MIDI and ...
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.
The slow movement is centred on F ♯ minor, which is a third interval down from the B ♭ major key of the first two movements. [33] It is Beethoven's longest slow movements [34] (e.g. Wilhelm Kempff played for approximately 16 minutes and Christoph Eschenbach 25 minutes).
The second movement is in E ♭ major and is also in sonata form. Its opening melody is often compared to the later music of Chopin. [2] The exposition starts in the tonic key and ends in the dominant key. The development plays around with the first theme of the exposition, slowly building intensity until both hands play constant sixteenth notes.
The theme of the first movement was used by Max Reger in his Variations and Fugue on a Theme by Mozart (1914) for orchestra. [7] The Israeli composer Ron Weidberg (b. 1953) used the same theme for a set of variations. Dave Brubeck's "Blue Rondo à la Turk" (1959) is not based on or related to the last movement. [8]