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Published by: Reniel Sagum Dacudao on Sep 09, 2012
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Für Elise (Beethoven)
Bagatelle No. 25 in A minor (WoO59 andBia515) for solopiano, commonly known as "Für  Elise", is one of Ludwig van Beethoven's most popular compositions. It is usually classified as abagatelle, but it is also sometimes referred to as an  Albumblatt.The score was not published until 1867, 40 years after the composer's death in 1827. The discoverer of the piece,LudwigNohl,affirmed that the original autographed manuscript was dated 27 April 1810. This manuscript has been lost.It is not certain who "Elise" was.Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and theoriginal work may have been named "Für Therese", a reference toTherese Malfattivon Rohrenbach zu Dezza (1792–1851).She was a friend and student of Beethoven's to whom he proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816. According to a recent study by Klaus Martin Kopitz, thereis flimsy evidence that the piece was written for the German soprano singer Elisabeth Röckel(1793–1883), later the wifeof Johann Nepomuk Hummel. "Elise", as she was called by a parish priest (she called herself "Betty" too), had been a friendof Beethoven's since 1808. In the meantime, the Austrian musicologist Michael Lorenz has shown that Rudolf Schachner,who in 1851 inherited Therese von Droßdik's musical scores, was the illegitimate son of Babette Bredl (who in 1865 let Nohlcopy the autograph in her possession). Thus the autograph must have come to Babette Bredl from Therese von Droßdik'sestate and Kopitz'shypothesis is refuted.Therese Malfatti, widely believed to be the dedicatee of "Für Elise"
Piano Sonata No. 14 (Moonlight Sonata)
The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia",Op.27, No. 2, popularly known as the Moonlight Sonata, isapiano sonatabyLudwig van Beethoven. Completed in 1801 and dedicated in 1802 to his pupil, CountessGiulietta Guicciardi, it is one of Beethoven's most popular compositions for the piano. Although no direct testimony exists as to the specific reasons why Beethoven decided to title both the Op. 27 worksasSonata quasi una fantasia, it may be significant that the layout of the present work does not follow the traditionalmovement arrangementin the Classical periodof fast-slow-[fast]-fast. Instead, the sonata possesses an end-weightedtrajectory, with the rapid music held off until the third movement. In his analysis, German criticPaul Bekker states that "Theopening sonata-allegro movement gave the work a definite character from the beginning... which succeeding movementscould supplement but not change. Beethoven rebelled against this determinative quality in the first movement. He wanted aprelude, an introduction, not a proposition.”The sonata consists of threemovements:
Adagio Sostenuto (First Movement)
The first movement, inC
minor , is written in an approximate truncatedsonata form. The movement opens with an octave in the left hand and atripletfiguration in the right. A melody thatHector Berliozcalled a "lamentation", mostly by the right hand, is played against an accompanyingostinatotriplet rhythm, simultaneously played by the right hand. The movement isplayedpianissimoor "very quietly", and the loudest it gets is mezzo forte or "moderately loud".
Allegretto (Second Movement)
The second movement is basically a relatively conventionalscherzoandtrio, a moment of relative calm written inD-flat major , the more easily-notated enharmonic equivalent of C
minor.Franz Lisztis said tohave described the second movement as "a flower between two chasms". The slight majority of the movement is inpiano,but a handful of sforzandosand forte-pianos helps to maintain the movement's cheerful disposition.
Presto Agitato (Third Movement)
The stormy final movement (C
minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata,Opus 27, No. 1and later on inOpus 101) placement of the most important movement of the sonata last. The writing has many fastarpeggiosand strongly accented notes, and an effectiveperformance demands lively and skillful playing.
Symphony No. 5 (Beethoven)
The Symphony No. 5 in C minor,Op.67, was written byLudwig van Beethovenin 1804–1808. It Is one of the most popular  and best-knowncompositionsin classical music, and one of the most often played symphonies.
 It comprisesfour movements: an openingsonata, anandante, and a fastscherzowhich leadsattaccato the finale. First performed inVienna'sTheater an der Wienin 1808, the work achieved its prodigious reputation soon afterwards.E. T. A. Hoffmanndescribed the symphony as "one of the most important works of the time".It begins by stating a distinctive four-note "short-short-short-long"motif twice:The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearingfrequently inpopular culture,fromdiscotorock and roll,to appearances in film and television.  A typical performance usually lasts around 30 minutes. The work is in four movements:1. First Movement: Allegro con Brio2. Second Movement: Andante con Moto3. Third Movement: Scherzo. Allegro4. Fourth Movement: Allegro
Symphony No. 94 (Haydn)
The Symphony No. 94 inG major (Hoboken 1/94) is the second of the twelve so-calledLondon symphonies(numbers 93-104) written byJoseph Haydn. It is usually called by its nickname, the Surprise Symphony, although in German it ismore often referred to as the Symphony "mit dem Paukenschlag" ("with the kettledrum stroke").Like all of Haydn's "London" symphonies, the work is in four movements, marked as follows:1.
Symphony No. 40 (Mozart)
Wolfgang Amadeus Mozartwrote his Symphony No. 40 in G minor,KV. 550, in 1788. It is sometimes referred to as the "GreatG minor symphony," to distinguish it from the "Little G minor symphony,"No. 25. The two are the onlyminor  key symphoniesMozart wrote.
Menuetto. Allegretto
Finale. Allegroassai

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