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Piano Sonata No. 52 In E-flat Major (Haydn)
The Piano Sonata in E-flat major, Hob. XVI/52, L. 62, was written in 1794 by Joseph Haydn. It is the last of Haydn's piano sonatas, and is widely considered his greatest. It has been the subject of extensive analysis by distinguished musicological personages such as Heinrich Schenker and Sir Donald Tovey, largely because of its expansive length, unusual harmonies and interesting development. The sonata is sometimes referred to as number 62 based on the numbering of Landon instead of the numbering of Hoboken. History Haydn wrote the work for Therese Jansen, an outstanding pianist who lived in London at the time of Haydn's visits there in the 1790s. Haydn served as a witness at her wedding to Gaetano Bartolozzi (16 May 1795). Haydn also dedicated three demanding piano trios ( H. XV:27–29) and another two piano sonatas (H. XVI:50 and 51) to Jansen. With regard to the E-flat sonata, Jansen was evidently the dedicatee of the autograph (hand-written) score but not the first publ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hoboken Catalogue
The Hoboken catalogue is a catalogue of the musical compositions by Joseph Haydn compiled by Anthony van Hoboken. It is intended to cover the composer's entire oeuvre and includes over 750 entries. Its full title in the original German is ''Joseph Haydn, Thematisch-bibliographisches Werkverzeichnis'' ("Joseph Haydn, thematic-bibliographic catalogue of works"). The Haydn catalogue that now bears Hoboken's name was begun in card format in 1934; work continued until the publication of the third and final book volume in 1978. Works by Haydn are often indicated using their Hoboken catalogue number, typically in the format " Violin Concerto No. 1 in C major, Hob. VIIa:1". The catalogue The catalogue is a massive work; a currently available version runs to 1936 pages. Each work is given with an identifying incipit, printed on a single musical line. There is discussion of manuscript sources, early editions, listing in previous catalogues (including the two Haydn prepared), and critical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Artaria
Artaria & Co. () was one of the most important music publishing firms of the late 18th and 19th century. Founded in the 18th century in Vienna, the company is associated with many leading names of the classical era. History Artaria & Co. was founded as a publishing house for art and maps by Carlo Artaria (1747–1808) in 1770 in Vienna, then the capital of the Habsburg monarchy. The company expanded its business to include music in 1778. Its most important early collaboration was with the Austrian composer Joseph Haydn, who published more than 300 works through Artaria, including many of the composer's string quartets (such as the Opus 33), which were a popular seller. The value of Haydn's works helped push Artaria to the top of the music publishing world in the late 18th century. This important relationship helped Artaria secure the rights to the works of other important classical composers such as Luigi Boccherini and, most notably, Wolfgang Amadeus Mozart. During his lifetim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E Major
E major (or the key of E) is a major scale based on E, consisting of the pitches E, F, G, A, B, C, and D. Its key signature has four sharps. Its relative minor is C-sharp minor and its parallel minor is E minor. Its enharmonic equivalent, F-flat major, has eight flats, including the double-flat B, which makes it impractical to use. The E major scale is: Music in E major Antonio Vivaldi used this key for the "Spring" concerto from ''The Four Seasons''. Johann Sebastian Bach used E major for a violin concerto, as well as for his third partita for solo violin; the key is especially appropriate for the latter piece because its tonic (E) and subdominant (A) correspond to open strings on the violin, enhancing the tone colour (and ease of playing) of the bariolage in the first movement. Only two of Joseph Haydn's 106 symphonies are in E major: No. 12 and No. 29. Ludwig van Beethoven used E major for two of his piano sonatas, Op. 14/1 and Op. 109. Starting with B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ternary Form
Ternary form, sometimes called song form, is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Prominent examples include the da capo aria "The trumpet shall sound" from Handel's ''Messiah'', Chopin's Prelude in D-Flat Major "Raindrop", ( Op. 28) and the opening chorus of Bach's ''St John Passion''. Simple ternary form In ternary form each section is self-contained both thematically as well as tonally (that is, each section contains distinct and complete themes), and ends with an authentic cadence. The B section is generally in a contrasting but closely related key, usually a perfect fifth above or the parallel minor of the home key of the A section (V or i); however, in many works of the Classical period, the B section stays in tonic but has contrasting thematic material. It usually also has a contrasting character; for example section A might be stif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trope (literature)
A literary trope is the use of figurative language, via word, phrase or an image, for artistic effect such as using a figure of speech. Keith and Lundburg describe a trope as, "a substitution of a word or phrase by a less literal word or phrase." The word ''trope'' has also come to be used for describing commonly recurring or overused literary and rhetorical devices, motifs or clichés in creative works. Literary tropes span almost every category of writing, such as poetry, film, plays, and video games. Origins The term ''trope'' derives from the Greek (''tropos''), "turn, direction, way", derived from the verb τρέπειν (''trepein''), "to turn, to direct, to alter, to change". Tropes and their classification were an important field in classical rhetoric. The study of tropes has been taken up again in modern criticism, especially in deconstruction. Tropological criticism (not to be confused with tropological reading, a type of biblical exegesis) is the historical study of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French Overture
The French overture is a musical form widely used in the Baroque period. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs. They are complementary in style (slow in dotted rhythms and fast in fugal style), and the first ends with a half-cadence (i.e., on a dominant harmony) that requires an answering structure with a tonic ending. The second section often but not always ends with a brief recollection of the first, sometimes even repeating some of its melodic content. The form is first encountered in Jean-Baptiste Lully's ballet overtures from the 1650s. Later examples can be found as the opening movement of each of Johann Sebastian Bach's orchestral suites, Partita in D major, BWV 828, C minor Cello Suite, BWV 1011, and as an opening to many operas and oratorios by George Frideric Handel (including ''Messiah'' and ''Giulio Cesare''). The 16th of Bach's ''Goldberg Variations'' is a miniature French overture. The French overtur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a complete phrase or period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as " y element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis. In different types of music Music based on a single theme is called 'monothematic', while music based on several themes is ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Presto (music)
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often indic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allegro (music)
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Movement (music)
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately as stand-alone pieces, a performance of the complete work requires all the movements to be performed in succession. A movement is a section Section, Sectioning or Sectioned may refer to: Arts, entertainment and media * Section (music), a complete, but not independent, musical idea * Section (typography), a subdivision, especially of a chapter, in books and documents ** Section sig ..., "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena". Sources Formal sections in music analysis {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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