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Schmitt, F.: Soirs / Symphonie Concertante / Reves

Select a performer for this work. Composers Periods More Santelmann , W. Schenker , H. Schillings , M. Schmitt , F. Schreck , G. Schumann , G. Scriabin , A. Similar Works.

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Centenaire du Stade Joseph Marien. Tijd voor een duik in de blauw-gele voetbalgeschiedenis, met voetbalhistoricus Kurt De Swert. We liked it and we share with you this nice report from [Tribune C]! When the breton discover the union The nickname foretells the emotional intensity to be unleashed. The first movement, Grave — Allegro di molto e con brio opens with solemnity in a slow introduction where dotted rhythms and expanding registers foreshadow Romantic drama.

A chromatic scale cascades downwards in an emphatic gesture, leading into the hushed frenzy of the exposition, with its rumbling octave tremolos in the first theme, and exhilarating. Here, Beethoven brazenly modulates from G minor to E minor in just four bars before we are hit with the chaos of the development.

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The theme of the Adagio cantabile earned its fame even before its numerous re-interpretations in popular culture. Tenderness is heightened by the key of A-flat major, a welcome respite from the tumult of C minor.

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The third movement lunges back to C minor with the ascending motif in the second theme of the first movement, now redefined as the rondo theme. There is a certain delicacy to this movement though undercurrents of urgency can be heard in the syncopations and continuous running eighth notes in the accompaniment. The music often explodes in an emotional outburst just before the return of the rondo, and certainly does so unapologetically one final time at the end of the sonata.

Allegro maestoso 2. Andante espressivo 3. Scherzo: Allegro energico 4. Intermezzo: Andante molto 5. Finale: Allegro moderato ma rubato. As it turned out, the third piano sonata by Brahms was a culmination of his sonatas in many ways. The strong pathos conveyed is no less impactful than the music of his idol. As if in contemplation of spirituality, the first movement, Allegro maestoso, contrasts a tragic funeral march in the first theme in F minor with an ethereal poetry in the second theme in A-flat major.

Twilight falls, the moonlight shines, Two hearts are united in love, and keep themselves in bliss enclosed. In the music, fragile falling thirds can be likened to twilight falling while enrapturing repetitive patterns in the accompaniment are as mesmerizing as moonlight. The two hearts enclosed in bliss are portrayed by themes in A-flat and D-flat major appearing in alternation.

This would be the last time Brahms would wear his heart so openly on his sleeve as he was later associated with the Absolutists in the war of the Romantics. The traditional sonata contains three or four movements, but this sonata consists of five.

The third movement, Scherzo, is the midpoint of the entire work. Wide leaps, virtuosic octaves and grandiose chordal writing that traverse a. In the fourth movement, the boundaries between sonata and character piece are blurred as Brahms titles it Intermezzo, which is often used for character pieces. The first letters of this phrase, F-A-E, are featured in an episode of this free rondo, the Finale. Such use of a musical cryptogram is reminiscent of Schumann.

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Therefore, much as the dominating rhythmic drive of the final movement expresses seething turbulence, it is also a tribute to two musicians Brahms admired greatly. Selections from Six Pieces for Piano, Op. Intermezzo in A major — Andante teneramente 3. Ballade in G minor — Allegro energico 6. On receiving both Op. In No. He was trying to make a name for himself in the wake of the towering output of Beethoven.

Philippa Harrison, piano: Archive schedule of concerts, performances, workshops.

It is exceptionally apparent in No. The dies irae surfaces in various guises. Allegro assai 2. Andante con moto 3.

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The Piano Sonata No. It was completed in and dedicated to Count Franz von Brunswick. Furthermore, Beethoven was rumoured to have been simultaneously in love with Countess Therese von Brunswick, the sister of the dedicatee, and with Josephine von Deym at the same time. It is therefore unsurprising that a fiery angst, a result of more than one aspect of his life, rears its head in the first movement, Allegro assai.

The first theme is an F minor arpeggio that threatens even in monophony because it sounds in the low registers of the piano. This is in contrast to the courageous second theme in A-flat major which is an inversion of the contour of the first theme. An emotional tug-of-war can be heard as major and minor sounds compete through the distinct employment of Neapolitan harmony.

An anxious. One often associates heroism with struggle, but more inspiring is the feeling of empowerment by overcoming struggle. This is what the second movement, Andante con moto represents. It is a theme and variations, with a theme that naturally comforts through simplicity. In the ensuing variations, Beethoven gains rhythmic momentum, gathers textural density and explores higher registers, as if in a divine search for a hope to transcend all struggles.

The final movement, Allegro ma non troppo — Presto, is an unravelling of the first. The arpeggiated motif in F minor, Neapolitan harmonies and dotted rhythms from the first movement are tightly spun into a web of perpetual motion in this sonata-allegro. Momentum intensifies further with the onset of the coda. Kirill Gerstein was brought up in the former Soviet Union studying both classical and jazz piano. Gerstein won the first of a series of prestigious accolades in First Prize at the 10th Arthur Rubinstein Competition.

His compositions revolutionised piano technique, and when they were written, barely a handful of other pianists were able to play them. The early versions of these dozen etudes consist of more than densely-packed pages, and Liszt ended up revising and simplifying them for a re-publication. Unlike other variation sets, however, Beethoven upends convention by stating only the plain bass line at the beginning. Three variations of this then occur, building up the theme gradually, before the variations finally take off. What follows is then a bog-standard set of Classical variations: augmentations and diminutions, scalic runs, arpeggios, a minor-key variation, a slow variation — a whole bag of musical tricks.

By his usual standards, this is not a very challenging piece, but there are enough dangers to trip up any unsuspecting pianist, and a successful performance is still a breathtaking display of skill. He was known by his peers to lack skill in composing polyphony, and his choice in keeping it simple allows the music to stay light throughout, almost like a Haydn finale. The headlong tempo of the fugue keeps it exciting where the harmonic palette is lean, though the sudden grind to a halt followed by an extended coda is typically Beethovenian invention: four pages of variations tacked onto the end of the fugue then wraps up the whole piece.

In this work, Beethoven recycles an old favourite of his to provide the theme: a short contredanse from is reused in The Creatures , then used again for this set of variations , before finally passing out of service in with the finale of the Eroica Symphony. Foreboding Predtucha — Con moto 2.