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The Piano Sonata No. 19 in G minor, Op. 49, No. 1, and Piano Sonata No. 20 in G major, Op. 49, No. 2, are short sonatas by Ludwig van Beethoven, published in 1805 (although the works were actually composed a decade earlier in early to mid 1797 [1]). Both works are approximately eight minutes in length, and are split into two movements.
Ludwig van Beethoven wrote 32 mature piano sonatas between 1795 and 1822. (He also wrote 3 juvenile sonatas at the age of 13 [1] and one unfinished sonata, WoO. 51.)Although originally not intended to be a meaningful whole, as a set they comprise one of the most important collections of works in the history of music. [2]
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.
Beethoven in c. 1804–1805; painted by Joseph Willibrord Mähler (1778–1860) The Piano Sonata No. 10 in G major, Op. 14, No. 2, composed in 1798–1799, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun. A typical performance lasts 15 minutes.
The late piano sonatas of Ludwig van Beethoven usually refer to the last five piano sonatas the composer composed during his late period. Piano Sonata No. 28 in A major, Op. 101; Piano Sonata No. 29 in B-flat major, Op. 106 "Hammerklavier" Piano Sonata No. 30 in E major, Op. 109; Piano Sonata No. 31 in A-flat major, Op. 110
Ludwig van Beethoven's Piano Sonata No. 2 in A major, Op. 2, No. 2, was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his first and third sonatas in 1796 . Donald Francis Tovey wrote, "The second sonata is flawless in execution and entirely beyond the range of Haydn and Mozart in harmonic and dramatic ...
The musical ideas are individualized in this sonata, where the strongest emotions are expressed. In the conception of the time, the key of F minor is perceived as severe and passionate, and Beethoven would return to this character later, especially in the Sonatas Op. 2 No. 1 and Op. 57.
Beethoven had already used the theme of the third movement in his Piano Sonata Op. 49 No. 2, which was an earlier work despite its higher opus number. The finale features a violin cadenza . The scoring of the Septet for a single clarinet, horn and bassoon (rather than for pairs of these wind instruments) was innovative.