Sonata No. 21 in D Major (Piano Part)

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He travelled through time effortlessly and unpacked this journey through the sonata form with relentless dedication up to the last note.

Piano sonata

XV: The sonata stretches all sorts of boundaries, challenging any preconceptions. It is harmonically rich often unexpectedly , lengthy almost of symphonic aspirations and defies the thematic structure of and balance between the themes. Schiff seemed to have all these dimensions in his mind, and they flawlessly translated into his fingertips.

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The first movement was gracious, light and virtuous, so neatly spelt out that it would have made a perfect exercise of music dictation. The second movement added serenity — never stillness — to the mix, with Schiff boasting a palette of timbres and exploring beyond the possibilities of his instrument.

Beethoven Piano Sonatas Digital Programme 1

At times, his fingers stood on a note and vibrated as if he was playing a violin. The final movement was pure exhilaration, fast yet never rushed.

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Schiff proved that not only music, but silences too can be multifaceted: the audience was treated to seductive silences, questioning silences, threatening silences. Schiff has played and spoken about this piece at length throughout his career, and his playing reflected his vision of it as music of extreme gravity that emerges from chaos and creates a whole universe. He was raw and uncompromising, eluding embellishment and diving into a very physical, focused performance.

The contrast with the Arietta movement was made all the more evident as a result, the tormenting soul searching giving room to a reflective peace first and a set of increasingly groovy variations later that look so far ahead into the future it almost triggered dizziness. Mozart brought the audience back to the quintessential classicism, his last sonata unequivocally transparent and deceitfully simple.

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After the Beethoven marathon, this felt like a fresh breeze, perhaps less challenging harmonically and structurally than the previous works but certainly delightful, and played with wit by a clearly amused Schiff. Schiff took advantage of every modulation — and there are many that can only be described as epiphanies — and every nuance.

Contents 1 Performances 1. Performers Daniel Barenboim piano.

Beethoven: Piano Sonata No in C major "Waldstein" Analysis

Javascript is required for this feature. Performer Pages Paavali Jumppanen piano.

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Boston: Isabella Stewart Gardner Museum. Performer Pages Peter Bradley-Fulgoni piano. Pub lisher.

Holograph manuscript, n. Editor First edition. Bonn et Cologne: N. Simrock , n. Plate This file is part of the Gaylord Library Mirroring Project. Plate B. Originally scanned at about pi, converted to dpi monochrome.

Mozart, Wolfgang Amadeus [bap. Mozart, Joannes Chrysost[omus] Wolfgangus Theophilus]

James Cutler Dunn Parker , English text. John Henry Cornell , English text. Editor Adolf von Henselt Moscow: A. In Bars and only the fourth bar compressed is used, Bars having only the third bar compressed ; Bar leads to an elaborate development of the first portion of the second part of the second subject, Bars The first subject re-appears unaltered until Bar 70, at which bar A flat is used instead of G, and five bars are added, ending, Bar , in the tonic key.

The connecting episode begins as before compare Bars with Bars Bar 22, however, is altered Bar , and a bar added — Bar — leading to the dominant of A minor; Bars are an exact transposition of Bars At Bars it modulates through A minor to C major, in which key it ends Bar The elongation of the Coda Bar is principally formed upon the first subject, with one reference to the second subject Bars Nearly the whole of the first subject which begins and ends in the tonic key is based upon the initial phrases, which are repeated with a varied accompaniment at Bar 31 and at Bar Note the shake formed on inverted pedal point, Bars At the concluding part of this episode in A minor there is a pedal point in the bass, Bars The first subject re-appears here unaltered.

This episode begins with a subject of eight bars Bars , which proceeds in sequence for four bars. The first phrase of eight notes in C minor is repeated in F minor Bars The first four notes are then used to commence a modulation to A flat major, the subject ending in that key Bar