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In , five years after Beethoven's death, Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne. Later in the nineteenth century, the sonata was universally known by that name. Many critics have objected to the subjective, romantic nature of the title "Moonlight", which has at times been called "a misleading approach to a movement with almost the character of a funeral march" [11] and "absurd".

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Although no direct testimony exists as to the specific reasons why Beethoven decided to title both the Op. Instead, the sonata possesses an end-weighted trajectory, with the rapid music held off until the third movement. In his analysis, German critic Paul Bekker states: "The opening sonata-allegro movement gave the work a definite character from the beginning Beethoven rebelled against this determinative quality in the first movement. He wanted a prelude , an introduction, not a proposition. The sonata consists of three movements :. A melody that Hector Berlioz called a "lamentation", [ citation needed ] mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand.

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The movement is played pianissimo or "very quietly", and the loudest it gets is piano or "quietly". The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify". Franz Liszt is said to have described the second movement as "a flower between two chasms". An effective performance of this movement demands lively and skillful playing, great stamina, and is significantly more demanding technically than the 1st and 2nd movements.

Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing. Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. At the opening of the work, Beethoven included the following direction in Italian: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino" "This whole piece ought to be played with the utmost delicacy and without damper[s]" [23].

The way this is accomplished both on today's pianos and on those of Beethoven's day is to depress the damper pedal throughout the movement — or at least to make use of the damper pedal throughout, but changing the pedal as the harmony changes. Performers often hesitate to follow Beethoven's direction, particularly when playing on a modern piano. This is because the modern piano has a much longer sustain time than the instruments of Beethoven's time , so that a steady application of the damper pedal creates a dissonant sound.

In contrast, performers who employ a historically based instrument either a restored old piano or a modern instrument built on historical principles tend to be more willing to follow Beethoven's direction literally.

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We can actually regard Chopin as our teacher as he points to the coda and says, 'Look here, this is great. Take heed of this example! The Fantaisie-Impromptu is perhaps the only instance where one genius discloses to us — if only by means of a composition of his own — what he actually hears in the work of another genius. From Wikipedia, the free encyclopedia. For other uses, see Moonlight Sonata disambiguation.

Sonata No. 2, 1st Movement

Title page of the first edition of the score, published on August 2 in in Vienna by Giovanni Cappi e Comp [1]. Adagio sostenuto Allegretto Presto agitato. Performed by Paul Pitman for Musopen Performed by Paul Pitman for Musopen. In Vienna presso Gio. Cappi Sulla Piazza di St. Michele No.

Shostakovich - Piano Sonata No. 2 (Emil Gilels)

In English, "Sonata, almost a fantasia for harpsichord or pianoforte. Opus 27 No. Thayer, in his Life of Beethoven , states that the work Beethoven originally intended to dedicate to Guicciardi was the Rondo in G, Op. So he cast around at the last moment for a piece to dedicate to Guicciardi. See Thayer, Alexander Wheelock Follow to get notified when ClassicMan has uploaded new scores.