![]() ![]() Particularly in the outer parts does the full stature of the more mature ‘leonine’ Beethoven appear - the concluding Prestissimo reinstates the breathless mood of the opening Allegro, the fleeting impression of anxiety of its first theme temporarily giving way to a vast, hymn-like melody spreading with broad runs. 3, the first composition to adopt Beethoven’s ‘fate’ key of C minor, is rightly the best known of the three works making up the Opus 1. In three creative periods (1790-1795, 18), Beethoven took music for this formation from the status of ‘Baroque sonata’ to that of the enlarged instrumental sonata, then a sweeping four-movement chamber work, the keyboard instrument reserving a concertante role for itself, astonishing in its brilliance and power. Anyway, the strings are far to be reduced to a simple accompaniment role. In Beethoven’s eleven trios, the keyboard occupies the main place, by the very nature of the instrument itself (pizzicato, then struck strings) and probably also due to the fact that Beethoven performed as a concert virtuoso on the piano on which he composed throughout his life. Bach and Handel, rather than the trio sonata which, despite its name, requires four instruments. The keyboard trio is the natural successor to the Sonata a due of the Baroque era such as the sonatas for violin (or flute) and keyboard by J.S. ![]() The first really significant collections of trios were perhaps those published by CPE Bach in 1775-1776 under the title of Claviersonaten and which are explicitly for obbligato keyboard “with violin and cello accompaniment”. ![]() In the domain of instrumental music, Beethoven contributed, genre by genre, to the evolution of the models proposed at the end of the 18th century by his predecessors: Haydn and Mozart, of course, but also personalities less well known today such as Carl Philipp Emanuel Bach and members of the second generation of the Mannheim School (Franzl, Stamitz, Toeschi, Richter, Holzbauer, Filtz, Wendling, Ramm.). ![]()
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