Sonata in E Minor (1785)

Keyboard Sonata in E minor, H (Bach, Carl Philipp Emanuel) Publisher. Info. Manuscript, Copyright. Public Domain [tag/del].
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This section uses material from the first and second subjects to form the development. The most unstable section harmonically, this goes through the keys of C major, F minor, G minor, and returning to the original part in C minor. The recapitulation occurs from m. The principal subject of this movement is 7 bars long, consisting mainly of bass broken chord accompaniment and a melody.

Ashkenazy plays Beethoven Sonata No.27 in E minor Op.90 (complete)

The subject, however, sub-divides itself into regular one-bar sections, which is very unusual. This carries on until the prolonged cadential extension from b. The rest of b.

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The coda ends the piece, formed from previous material. This movement contains a great tragic sense that really makes it stand out. The subject, which is unusually long, consists of two parts, both ending with perfect cadences. The first is introduced quietly, with melody in the R. However the second has a great fiery sense to it. Both share distinct and separate ideas. This subject is ended by a prolonged cadential repetition. The second subject then contains Alberti bass in the L.

Clementi, M: Selected Piano Sonatas () Vol. 1 | Presto Sheet Music

The second part of this subject is in fact based on a passage of the R. At this moment, we hear the original principal subject cut short into half. This then gives way to the middle section of F minor. This motif is shown twice exactly the same, the first is shown, modulating into G minor, then C minor, where the same cut-in-half principal subject is heard.


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    7. This is where the motif is repeated the second time, then giving way to the coda. The coda is founded from the second subject, starting in b. H leading the melody along with the L.

    Works: 1781-1785

    H accompanying with broken chords. The coda ends with a perfect cadence. The Fantasy in C minor, K.

    Mozart recorded the date of completion as May 20, in his private catalogue of works. Opinions have differed on whether or not Mozart intended the two to be performed together. Although they were published together as the same opus, Mozart sometimes performed the pieces separately. The Fantasy by nature has an improvisational quality than the subsequent sonata, and the pairing presents a classical correlation to the baroque combination of fantasy and fugue.

    Selected Piano Sonatas - Volume I (1768-1785)

    There are four suites, which in the style of Rameau and Couperin describe with wit and tender affection characters from ancient mythology and the composer's own time, with melodies almost buried beneath cascades of exquisite decoration. In his dedication, de Bury states that he was fifteen years old when he wrote the suties, though such precocious youth could not be guessed from the music itself, which is far from immature. This coupling is unique on record; only one previous recording of de Bury's work is presently available. Your Basket Order Total: Login or Create an Account to write a review.


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