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62:
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932:: the pianist should pedal cleanly while allowing sympathetic vibration of the low bass strings to provide the desired "blur". This is accomplished by silently depressing the piano's lowest bass notes before beginning the movement, then using the sostenuto pedal to hold these dampers up for the duration of the movement.
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for harpsichord or pianoforte. Composed, and dedicated to
Mademoiselle Countess Julie "Giulietta" Guicciardi, by Ludwig van Beethoven. Opus 27 No. 2. Published in Vienna by Giovanni Cappi, Michaelerplatz No. 5.") The suggestion that the work could be performed on the harpsichord reflected a common
448:
found the title "harmless", remarking that "it is silly for austere critics to work themselves up into a state of almost hysterical rage with poor
Rellstab", and adding, "what these austere critics fail to grasp is that unless the general public had responded to the suggestion of moonlight in this
437:
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" and "absurd". Other critics have approved of the sobriquet, finding it evocative or in line with
426:
that he published in 1824: "The lake reposes in twilit moon-shimmer , muffled waves strike the dark shore; gloomy wooded mountains rise and close off the holy place from the world; ghostly swans glide with whispering rustles on the tide, and an
Aeolian harp sends down mysterious tones of lovelorn
889:
At the opening of the first movement, 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"). The way this is accomplished (both on today's
427:
yearning from the ruins." Rellstab made no mention of Lake
Lucerne, which seems to have been Lenz's own addition. Rellstab met Beethoven in 1825, making it theoretically possible for Beethoven to have known of the moonlight comparison, though the nickname may not have arisen until later.
901:, so that a steady application of the sustain 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) are more able to follow Beethoven's direction literally.
422:, which twenty years ago made connoisseurs cry out in Germany, has no other origin." Taken literally, "twenty years" would mean the nickname had to have started after Beethoven's death. In fact Rellstab made his comment about the sonata's first movement in a story called
1176:
635:
called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance". The movement was very popular in
Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things".
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sequences that fall both into the right and left hands at various times. An effective performance of this movement demands lively, skillful playing and great stamina, and is significantly more demanding technically than the 1st and 2nd movements.
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1067:
SONATA quasi una FANTASIA per il
Clavicembalo o Piano=forte composta e dedicata alla Damigella Contessa Giulietta Guicciardi da Luigi van Beethoven Opera 27 No. 2. In Vienna presso Gio. Cappi Sulla Piazza di St. Michele No.
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movement gave the work a definite character from the beginning ... which succeeding movements could supplement but not change. Beethoven rebelled against this determinative quality in the first movement. He wanted a
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tempo has made a powerful impression on many listeners; for instance, Berlioz commented that it "is one of those poems that human language does not know how to qualify". Beethoven's student
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One option is simply to change the sustain pedal periodically where necessary to avoid excessive dissonance. This is seen, for instance, in the editorially supplied pedal marks in the
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203:
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minor Sonata struck fire in Chopin. 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
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helps to maintain the movement's cheerful disposition. It is the shortest of the movements and has been called the "less popular" interlude between the first and third movements.
1750:
2377:
1463:
434:" was being used in German publications and "Moonlight Sonata" in English publications. Later in the nineteenth century, the sonata was universally known by that name.
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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."
2338:
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to have been in fact a tribute to
Beethoven. It manifests the key relationships of the sonata's three movements, chord structures, and even shares some passages.
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composed a piece for violin and piano called "Meditation", Op. 296, in which he adds a violin melody over the unaltered first movement of
Beethoven's sonata.
1976:
1096:, but circumstances required that this be dedicated to Countess Lichnowsky. So he cast around at the last moment for a piece to dedicate to Guicciardi. See
1510:
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era. Instead, the sonata possesses an end-weighted trajectory, with the rapid music held off until the third movement. In his analysis, German critic
2028:
918:—a technique involving a partial depression of the pedal—is also often used to simulate the shorter sustain of the early nineteenth century pedal.
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1299:
1045:, his last composition. The third movement, where the quotation takes fragmentary form, is actually called an "Adagio in memory of Beethoven".
2459:
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around the age of 30, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.
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has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing".
1941:
858:
359:
The piece is one of
Beethoven's most famous compositions for the piano, and was quite popular even in his own day. Beethoven wrote the
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1088:
This dedication was not Beethoven's original intention, and he did not have Guicciardi in mind when writing the sonata. Thayer, in his
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463:, Beethoven's pupil, described the first movement as "a ghost scene, where out of the far distance a plaintive ghostly voice sounds".
1980:
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250:
217:
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327:
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1447:
659:, a sketch in Beethoven's handwriting of a few lines of Mozart's music (which bears the same characteristic triplet figuration)
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391:". "The subtitle reminds listeners that the piece, although technically a sonata, is suggestive of a free-flowing, improvised
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Although no direct testimony exists as to the specific reasons why Beethoven decided to title both the Op. 27 works as
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throughout the movement – or at least to make use of the pedal throughout, but re-applying it as the harmony changes.
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807:, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata
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minor, the key of the sonata. "In any case, there is no romantic moon-light in this movement: it is rather a solemn
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2014:
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DONALDSON, BRYNA. “Beethoven’s Moonlight Fantasy.” American Music Teacher, vol. 20, no. 4, 1971, pp. 32–32. JSTOR,
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481:, it may be significant that the layout of the present work does not follow the traditional movement arrangement
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Modern popular music pianists have included core motifs of the piece in their adaptations. Examples include
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356:), it was not Beethoven who named it so. The name grew popular later, likely long after Beethoven's death.
66:
Title page of the first edition of the score, published on 2 August 1802 in Vienna by Giovanni Cappi e Comp
575:. Donald Francis Tovey warned players of this movement to avoid "taking on a quaver standard like a slow
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779:
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414:, who wrote in 1852: "Rellstab compares this work to a boat, visiting, by moonlight, the remote parts of
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708:, with the first section of the minuet not repeated. It is a seeming moment of relative calm written in
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1177:"Ludwig van Beethoven, Sonate fĂĽr Klavier (cis-Moll) op. 27, 2 (Sonata quasi una fantasia), Cappi, 879"
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1997:
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655:, which comes just after the Commendatore’s murder. He claims to have found, in the archives of the
122:
815:), namely, placement of the most important movement of the sonata last. The writing has many fast
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1113:(revised ed.). Princeton: Princeton University Press (published 1967). p. 291 and 297.
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2006:
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1911:
The Piano: The Complete Illustrated Guide to the World's Most Popular Musical Instrument
1837:
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1547:(Revised ed.). London: Associated Board of the Royal Schools of Music. p. 50.
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minor sonata, particularly the third movement, is held to have been the inspiration for
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of fast–slow––fast. Indeed, this sonata is considered one of the earliest pieces of the
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1092:, states that the work Beethoven originally intended to dedicate to Guicciardi was the
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passages, creates the sense of a very powerful sound in spite of the predominance of
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suggested either half-pedaling or releasing the pedal a fraction of a second late.
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triplet rhythm, simultaneously played by the right hand. The movement is played
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is said to have described the second movement as "a flower between two chasms".
1873:
Performance Practices in Classic Piano Music: Their Principles and Applications
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1851:"Is Beatles' Song 'Because' Beethoven's 'Moonlight Sonata' Played Backwards?"
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375:("sonata almost a fantasy"), the same title as that of its companion piece,
1963:
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is based upon the chord progression of Moonlight Sonata played in reverse.
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likened the effect of the first movement to that of moonlight shining upon
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For performance on the modern piano, several options have been put forth.
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1933:. Borough Green Sevenoaks, Kent: Novello. pp. 28–29 – via
1470:. J.A. Fuller Maitland, ed., Macmillan and Co., London, 1900, p. 360.
1020:
982:
1721:
Beethoven's pianoforte sonatas: a guide for students & amateurs
1434:. H. K. F. Gatty, ed., George Bell & Sons, London, 1879, p. 60.
1166:. Cambridge University Press, Cambridge, pp. 19, 43 and back cover.
816:
610:
1075:
marketing practice of music publishers in the early 19th century (
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was appropriate for the first movement but not for the other two.
1025:
647:
suggests that this movement of this sonata is based on Mozart's "
469:
described the second movement as "a flower between two abysses".
1454:
2nd edition. Oxford University Press, Oxford, 2006 rev., p. 589.
338:, completed in 1801 and dedicated in 1802 to his pupil Countess
1584:(in English and German). Translated by SchĂĽtz, Gudula. Kassel:
1258:
Beethoven: The Man and the Artist, as Revealed in His Own Words
701:
598:
594:
609:", mostly by the left hand, is played against an accompanying
1163:
Beethoven, the Moonlight and other sonatas, op. 27 and op. 31
670:
449:
music Rellstab's remark would long ago have been forgotten."
1790:
Beethoven, Sonate per pianoforte, Vol. 1 (N. 1–16), Ricordi
969:
we can at least recognize what particular features of the C
285:
890:
pianos and on those of Beethoven's day) is to depress the
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The modern piano has a much longer sustain time than the
785:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
1400:. Vol. 9, No. 11, Tobias Haslinger, Vienna, 1837, p. 41.
862:
Autograph score; the first page has evidently been lost
30:"Moonlight Sonata" redirects here. For other uses, see
1338:
Musicologia: Musical Knowledge from Plato to John Cage
841:
notes, together with just a few strategically located
2402:
1288:(in French). Vol. 1. St Petersburg. p. 225.
1819:
1330:
1328:
2000:, The William and Gayle Cook Music Library at the
1106:
819:/broken chords, strongly accented notes, and fast
1887:: A Tribute to Beethoven". In David Beach (ed.).
1807:
742:minor. The slight majority of the movement is in
700:The second movement is a relatively conventional
2426:
1961:on Beethoven's Piano Sonata Op. 27, No. 2 – via
1804:, Bloomington: Indiana University Press, p. 168.
1325:
2211:No. 19 in G minor and No. 20 in G major, Op. 49
1500:. Theo. Presser Co., Philadelphia, 1915, p. 31.
1134:
1133:Note that Beethoven wrote "senza sordino"; see
1942:Analysis and recordings review of Beethoven's
1014:released a version of the piece, performed by
620:or "very quietly", and the loudest it gets is
2339:Sonata in D major for piano four-hands, Op. 6
2022:
1994:(interactive score) on Verovio Humdrum Viewer
402:arose after the German music critic and poet
342:. Although known throughout the world as the
1650:Beethoven's Piano Sonatas: A Short Companion
1002:'s 'Remixed & Unplugged' version of her
266:
233:
200:
2029:
2015:
1420:Henry Colburn pub., vol. II, 1841, p. 109.
1298:: CS1 maint: location missing publisher (
1041:quoted the sonata's first movement in his
60:
1981:International Music Score Library Project
1870:
1773:
1575:
1529:
1468:Grove's Dictionary of Music and Musicians
1255:
992:, in his 'Moonlight Becomes You,' on his
866:
371:The first edition of the score is headed
27:Piano sonata written by Beethoven in 1801
1905:
1875:. Bloomington: Indiana University Press.
1794:
1694:"Why do we love the 'Moonlight' Sonata?"
1640:
1638:
1636:
1609:(New York: Schirmer Books, 1998), p. 139
1582:Sonata quasi una Fantasia fĂĽr Pianoforte
1497:Well-known Piano Solos: How to Play Them
1368:Berliner allgemeine musikalische Zeitung
1361:
1076:
1065:The title page is in Italian, and reads
881:Piano pedals § Beethoven and pedals
857:
1931:Analysis of Form in Beethoven's Sonatas
1718:
1622:Analysis of form in Beethoven's sonatas
1618:
1334:
1156:
1154:
1152:
1048:
601:figuration in the right. A melody that
502:, an introduction, not a proposition".
14:
2427:
1951:, September 2007, Classical Music Blog
1652:. Yale University Press. p. 157.
1544:Complete Pianoforte Sonatas, Volume II
1097:
773:
533:
438:their own interpretation of the work.
2455:Piano sonatas by Ludwig van Beethoven
2010:
1879:
1848:
1825:
1813:
1788:, Indiana University School of Music
1644:
1633:
1525:
1523:
1127:
873:Piano history and musical performance
2460:Music dedicated to family or friends
1786:William and Gayle Cook Music Library
1735:http://www.jstor.org/stable/43533985
1313:
1311:
1309:
1280:
1260:. 1st World Publishing. p. 47.
1149:
1679:, ed. Elliot Forbes, Princeton 1967
1625:. Borough Green: Novello. pp.
1364:"Theodor. Eine musikalische Skizze"
1227:
1018:, as a B-side on their 1988 single
410:. This comes from the musicologist
398:Many sources say that the nickname
24:
2002:Indiana University School of Music
1688:
1569:
1520:
1397:Allgemeiner musikalischer Anzeiger
25:
2471:
1918:
1494:See, e.g., Wilkinson, Charles W.
1382:"The Complete Beethoven: Day 344"
1306:
885:Historically informed performance
676:
383:translates the Italian title as "
32:Moonlight Sonata (disambiguation)
2412:
1341:. Scarecrow Press. p. 279.
2364:Piano Sonata in C major, WoO 51
1889:Aspects of Schenkerian Analysis
1842:
1831:
1802:The Pianist’s Guide to Pedaling
1779:
1766:
1740:
1727:
1712:
1682:
1666:
1612:
1596:
1503:
1488:
1473:
1457:
1437:
1423:
1403:
1388:
1374:
1355:
1070:(In English, "Sonata, almost a
899:instruments of Beethoven's time
418:in Switzerland. The soubriquet
1925:Harding, Henry Alfred (1901).
1619:Harding, Henry Alfred (1901).
1576:Beethoven, Ludwig van (2015).
1485:. Amadeus Press, 2004, p. 411.
1274:
1256:Beethoven, Ludwig van (2004).
1249:
1221:
1194:
1169:
1082:
1059:
641:Beethoven's pianoforte sonatas
13:
1:
2440:Compositions in C-sharp minor
2392:Sonatina in F major, Anh. 5/2
2387:Sonatina in G major, Anh. 5/1
1871:Rosenblum, Sandra P. (1988).
1838:IMSLP Carl Bohm, "Meditation"
1511:"The Beethoven Piano Sonatas"
1286:Beethoven et ses trois styles
965:writes: "With the aid of the
505:The sonata consists of three
430:By the late 1830s, the name "
280:Played by Bernd Krueger on a
2445:Compositions in D-flat major
2189:No. 17 in D minor, Op. 31/2
1431:Aunt Judy's Christmas Volume
936:
797:The stormy final movement (C
782:
685:
542:
340:Julie "Giulietta" Guicciardi
7:
2359:Three Piano Sonatas, WoO 47
2184:No. 16 in G major, Op. 31/1
2113:No. 10 in G major, Op. 14/2
803:minor), in sonata form and
593:The movement opens with an
10:
2476:
2323:No. 32 in C minor, Op. 111
2307:No. 30 in E major, Op. 109
2288:No. 28 in A major, Op. 101
2229:No. 23 in F minor, Op. 57
2216:No. 21 in C major, Op. 53
2165:No. 15 in D major, Op. 28
2108:No. 9 in E major, Op. 14/1
2095:No. 7 in D major, Op. 10/3
2090:No. 6 in F major, Op. 10/2
2085:No. 5 in C minor, Op. 10/1
1755:. A Capella Books. p. 71.
1452:Oxford Dictionary of Music
1109:Thayer's Life of Beethoven
1099:Thayer, Alexander Wheelock
870:
718:, the more easily notated
278:III. Presto agitato (6:56)
212:I. Adagio sostenuto (6:00)
29:
2375:
2347:
2331:
2278:
2270:No. 27 in E minor, Op. 90
2251:No. 25 in G major, Op. 79
2224:No. 22 in F major, Op. 54
2176:
2100:No. 8 in C minor, Op. 13
2066:No. 3 in C major, Op. 2/3
2061:No. 2 in A major, Op. 2/2
2056:No. 1 in F minor, Op. 2/1
2048:
1970:
1891:. Yale University Press.
1677:Alexander Wheelock Thayer
1362:Rellstab, Ludwig (1824).
834:Beethoven's heavy use of
736:of the main work's key, C
571:, is written in modified
479:Sonata quasi una fantasia
373:Sonata quasi una fantasia
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46:Sonata quasi una fantasia
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1986:Piano Sonata No. 14 in C
1737:. Accessed 20 Oct. 2023.
1592: 979-0-006-55799-8.
1094:Rondo in G, Op. 51 No. 2
649:Ah Soccorso! Son Tradito
643:, the renowned pianist
366:
1752:Alfred Brendel on music
1719:Fischer, Edwin (1959).
1580:; Donat, Misha (eds.).
1335:Maconie, Robin (2010).
1235:Encyclopædia Britannica
1135:#Beethoven's pedal mark
827:Of the final movement,
787:download the audio file
690:download the audio file
597:in the left hand and a
557:The first movement, in
547:download the audio file
483:in the Classical period
472:
867:Beethoven's pedal mark
863:
274:
241:
208:
1800:Banowetz, J. (1985).
1535:Tovey, Donald Francis
1531:Beethoven, Ludwig van
1416:The Life of Beethoven
1319:"Beethoven Bookshelf"
1043:Viola Sonata, op. 147
861:
855:markings throughout.
493:states: "The opening
453:thought the title of
273:
245:II. Allegretto (2:06)
240:
207:
2042:Ludwig van Beethoven
1723:. Faber. p. 62.
1509:Mackenzie, Compton.
1482:The Art of the Piano
1049:Notes and references
451:Donald Francis Tovey
336:Ludwig van Beethoven
152:Giulietta Guicciardi
54:Ludwig van Beethoven
1977:Piano Sonata No. 14
1885:Fantaisie-Impromptu
1039:Dmitri Shostakovich
977:Fantaisie-Impromptu
967:Fantaisie-Impromptu
959:Fantaisie-Impromptu
954:Fantaisie-Impromptu
928:suggests using the
774:III. Presto agitato
749:, but a handful of
673:", writes Fischer.
573:sonata-allegro form
534:I. Adagio sostenuto
387:in the manner of a
314:Piano Sonata No. 14
40:Piano Sonata No. 14
1849:Mikkelson, David.
1517:, Aug. 1940, p. 5.
1464:"Moonlight Sonata"
1448:"Moonlight Sonata"
1230:"Moonlight Sonata"
1207:Grove Music Online
864:
657:Wiener Musikverein
381:Grove Music Online
323:Quasi una fantasia
275:
242:
209:
2450:Fantasias (music)
2435:1801 compositions
2400:
2399:
2368:
1898:978-0-300-02800-3
1772:Translation from
1673:Life of Beethoven
1659:978-0-300-09070-3
1578:Del Mar, Jonathan
1554:978-1-85472-054-2
1370:(in German): 274.
1348:978-0-8108-7696-5
1282:Lenz, Wilhelm von
1267:978-1-59540-149-6
1090:Life of Beethoven
791:
694:
551:
446:Compton Mackenzie
310:
309:
271:
238:
205:
104:(second movement)
16:(Redirected from
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2157:minor, Op. 27/2
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1990:
1979:: Scores at the
1944:Moonlight Sonata
1938:
1935:Internet Archive
1914:
1907:Siepmann, Jeremy
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1631:
1630:
1616:
1610:
1600:
1594:
1593:
1573:
1567:
1566:
1527:
1518:
1507:
1501:
1492:
1486:
1477:
1471:
1461:
1455:
1444:Kennedy, Michael
1441:
1435:
1427:
1421:
1407:
1401:
1392:
1386:
1385:
1378:
1372:
1371:
1359:
1353:
1352:
1332:
1323:
1322:
1315:
1304:
1303:
1297:
1289:
1278:
1272:
1271:
1253:
1247:
1246:
1244:
1242:
1228:Schwarm, Betsy.
1225:
1219:
1218:
1216:
1214:
1198:
1192:
1191:
1189:
1187:
1173:
1167:
1160:Jones, Timothy.
1158:
1138:
1131:
1125:
1124:
1112:
1086:
1080:
1063:
1005:Songs in A Minor
974:
973:
946:
945:
811:and later on in
802:
801:
741:
740:
729:
728:
715:
714:
668:
667:
629:adagio sostenuto
589:
588:
587:
586:
564:
563:
432:Mondscheinsonate
420:Mondscheinsonate
412:Wilhelm von Lenz
400:Moonlight Sonata
361:Moonlight Sonata
354:Mondscheinsonate
345:Moonlight Sonata
272:
239:
206:
123:Classical period
101:
100:
91:
90:
76:Moonlight Sonata
64:
37:
36:
21:
18:Moonlight Sonata
2475:
2474:
2470:
2469:
2468:
2466:
2465:
2464:
2425:
2424:
2423:
2419:Classical music
2413:
2411:
2403:
2401:
2396:
2371:
2343:
2327:
2314:
2313:
2301:(Hammerklavier)
2299:major, Op. 106
2295:
2294:
2274:
2262:major, Op. 81a
2258:
2257:
2239:
2238:
2199:
2198:
2172:
2153:
2152:
2146:major, Op. 27/1
2142:
2141:
2131:
2130:
2120:
2119:
2073:
2072:
2044:
2035:
1998:Ricordi edition
1992:major, Op. 27/2
1988:
1987:
1973:
1927:"Sonata No. 14"
1924:
1921:
1899:
1862:
1847:
1843:
1836:
1832:
1824:
1820:
1812:
1808:
1799:
1795:
1784:
1780:
1771:
1767:
1747:Brendel, Alfred
1745:
1741:
1732:
1728:
1717:
1713:
1703:
1701:
1687:
1683:
1671:
1667:
1660:
1643:
1634:
1617:
1613:
1603:Maynard Solomon
1601:
1597:
1588:. p. iii.
1574:
1570:
1555:
1539:Craxton, Harold
1528:
1521:
1508:
1504:
1493:
1489:
1478:
1474:
1462:
1458:
1442:
1438:
1428:
1424:
1411:Ignaz Moscheles
1408:
1404:
1393:
1389:
1380:
1379:
1375:
1360:
1356:
1349:
1333:
1326:
1317:
1316:
1307:
1291:
1290:
1279:
1275:
1268:
1254:
1250:
1240:
1238:
1226:
1222:
1212:
1210:
1200:
1199:
1195:
1185:
1183:
1175:
1174:
1170:
1159:
1150:
1141:
1132:
1128:
1121:
1087:
1083:
1064:
1060:
1051:
990:George Shearing
971:
970:
949:Frédéric Chopin
943:
942:
939:
930:sostenuto pedal
926:Joseph Banowetz
910:Ricordi edition
887:
869:
799:
798:
793:
792:
790:
776:
738:
737:
726:
725:
712:
711:
696:
695:
693:
679:
665:
664:
651:" of his opera
585:
580:
579:
578:
577:
576:
561:
560:
553:
552:
550:
536:
531:
475:
404:Ludwig Rellstab
369:
302:
288:
279:
276:
267:
260:
246:
243:
234:
227:
213:
210:
201:
98:
97:
88:
87:
67:
35:
28:
23:
22:
15:
12:
11:
5:
2473:
2463:
2462:
2457:
2452:
2447:
2442:
2437:
2422:
2421:
2398:
2397:
2395:
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2383:
2381:
2373:
2372:
2370:
2369:
2361:
2355:
2353:
2345:
2344:
2342:
2341:
2335:
2333:
2329:
2328:
2326:
2325:
2320:
2318:major, Op. 110
2309:
2304:
2290:
2284:
2282:
2276:
2275:
2273:
2272:
2267:
2253:
2248:
2243:major, Op. 78
2234:
2231:(Appassionata)
2226:
2221:
2213:
2208:
2194:
2186:
2180:
2178:
2177:Middle sonatas
2174:
2173:
2171:
2170:
2162:
2148:
2137:
2126:
2115:
2110:
2105:
2097:
2092:
2087:
2082:
2079:(Grand Sonata)
2068:
2063:
2058:
2052:
2050:
2046:
2045:
2034:
2033:
2026:
2019:
2011:
2005:
2004:
1995:
1983:
1972:
1969:
1968:
1967:
1952:
1949:Roni's Journal
1939:
1920:
1919:External links
1917:
1916:
1915:
1903:
1897:
1877:
1861:
1860:
1841:
1830:
1828:, p. 207.
1818:
1806:
1793:
1778:
1774:Rosenblum 1988
1765:
1739:
1726:
1711:
1681:
1665:
1658:
1646:Rosen, Charles
1632:
1611:
1595:
1568:
1553:
1519:
1515:The Gramophone
1502:
1487:
1479:Dubal, David.
1472:
1456:
1436:
1422:
1402:
1387:
1373:
1354:
1347:
1324:
1305:
1273:
1266:
1248:
1220:
1193:
1168:
1147:
1140:
1139:
1126:
1119:
1103:Elliot, Forbes
1081:
1079:, p. 60).
1057:
1050:
1047:
1037:In July 1975,
938:
935:
934:
933:
923:
913:
912:of the sonata.
868:
865:
809:Opus 27, No. 1
795:
794:
784:
781:
775:
772:
734:parallel major
722:equivalent of
698:
697:
687:
684:
678:
677:II. Allegretto
675:
624:or "quietly".
603:Hector Berlioz
581:
555:
554:
544:
541:
535:
532:
530:
529:
523:
518:
511:
495:sonata-allegro
474:
471:
368:
365:
330:, No. 2, is a
308:
307:
304:
303:
301:
300:
295:
289:
277:
265:
262:
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258:
253:
247:
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199:
196:
195:
191:
190:
187:
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179:
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175:
171:
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169:Giovanni Cappi
167:
163:
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159:
155:
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148:
144:
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83:
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42:
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26:
9:
6:
4:
3:
2:
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2430:
2420:
2410:
2409:
2406:
2393:
2390:
2388:
2385:
2384:
2382:
2379:
2374:
2367:(fragmentary)
2365:
2362:
2360:
2357:
2356:
2354:
2351:
2346:
2340:
2337:
2336:
2334:
2330:
2324:
2321:
2319:
2310:
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2305:
2303:
2302:
2291:
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2286:
2285:
2283:
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2277:
2271:
2268:
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2265:
2254:
2252:
2249:
2247:
2246:
2235:
2233:
2232:
2227:
2225:
2222:
2220:
2219:
2214:
2212:
2209:
2207:
2206:
2195:
2193:
2192:
2191:(The Tempest)
2187:
2185:
2182:
2181:
2179:
2175:
2169:
2168:
2163:
2161:
2160:
2149:
2147:
2138:
2136:
2135:major, Op. 26
2127:
2125:
2124:major, Op. 22
2116:
2114:
2111:
2109:
2106:
2104:
2103:
2098:
2096:
2093:
2091:
2088:
2086:
2083:
2081:
2080:
2077:major, Op. 7
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2053:
2051:
2049:Early sonatas
2047:
2043:
2039:
2038:Piano sonatas
2032:
2027:
2025:
2020:
2018:
2013:
2012:
2009:
2003:
1999:
1996:
1993:
1984:
1982:
1978:
1975:
1974:
1966:
1965:
1960:
1959:András Schiff
1956:
1953:
1950:
1946:
1945:
1940:
1936:
1932:
1928:
1923:
1922:
1912:
1908:
1904:
1900:
1894:
1890:
1886:
1883:(1983). "The
1882:
1878:
1874:
1869:
1868:
1867:
1866:
1856:
1852:
1845:
1839:
1834:
1827:
1822:
1815:
1810:
1803:
1797:
1791:
1787:
1782:
1776:, p. 136
1775:
1769:
1762:
1761:1-55652-408-0
1758:
1754:
1753:
1748:
1743:
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1259:
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1237:
1236:
1231:
1224:
1209:
1208:
1203:
1197:
1182:
1181:Beethovenhaus
1178:
1172:
1165:
1164:
1157:
1155:
1153:
1148:
1146:
1145:
1136:
1130:
1122:
1120:0-691-02702-1
1116:
1111:
1110:
1104:
1100:
1095:
1091:
1085:
1078:
1077:Siepmann 1998
1073:
1069:
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1055:
1046:
1044:
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991:
986:
984:
980:
978:
968:
964:
960:
956:
955:
950:
931:
927:
924:
921:
920:Charles Rosen
917:
916:Half pedaling
914:
911:
907:
906:
905:
902:
900:
895:
893:
892:sustain pedal
886:
882:
878:
874:
860:
856:
854:
852:
847:
845:
840:
838:
832:
830:
829:Charles Rosen
825:
822:
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814:
810:
806:
788:
778:
777:
771:
769:
765:
761:
760:
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753:
748:
746:
735:
731:
721:
717:
707:
703:
691:
681:
680:
674:
672:
662:
658:
654:
650:
646:
645:Edwin Fischer
642:
637:
634:
630:
625:
623:
619:
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612:
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584:
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428:
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417:
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409:
405:
401:
396:
394:
390:
386:
382:
378:
377:Op. 27, No. 1
374:
364:
362:
357:
355:
351:
347:
346:
341:
337:
333:
329:
325:
324:
319:
318:C-sharp minor
315:
305:
299:
296:
294:
291:
290:
287:
283:
282:digital piano
263:
257:
254:
252:
249:
248:
230:
224:
221:
219:
216:
215:
197:
194:Audio samples
192:
188:
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168:
164:
160:
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149:
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137:
134:
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107:
103:
93:
84:
80:
77:
74:
70:
63:
58:
55:
50:
47:
43:
38:
33:
19:
2348:Unnumbered (
2300:
2280:Late sonatas
2264:(Les adieux)
2263:
2244:
2230:
2217:
2204:
2190:
2166:
2158:
2150:
2102:(Pathétique)
2101:
2078:
1964:The Guardian
1962:
1948:
1943:
1930:
1910:
1888:
1884:
1881:Oster, Ernst
1872:
1864:
1863:
1854:
1844:
1833:
1821:
1809:
1801:
1796:
1781:
1768:
1751:
1742:
1729:
1720:
1714:
1702:. Retrieved
1697:
1690:Fishko, Sara
1684:
1672:
1668:
1649:
1621:
1614:
1606:
1598:
1581:
1571:
1543:
1514:
1505:
1496:
1490:
1481:
1475:
1467:
1459:
1451:
1439:
1430:
1425:
1415:
1405:
1396:
1390:
1376:
1367:
1357:
1337:
1285:
1276:
1257:
1251:
1239:. Retrieved
1233:
1223:
1211:. Retrieved
1205:
1196:
1184:. Retrieved
1171:
1162:
1143:
1142:
1129:
1108:
1089:
1084:
1071:
1066:
1061:
1053:
1052:
1036:
1029:
1019:
1012:Depeche Mode
1010:
1003:
993:
987:
981:
976:
966:
958:
952:
940:
903:
896:
888:
877:Mute (music)
849:
842:
835:
833:
826:
821:alberti bass
796:
763:
758:
750:
743:
699:
653:Don Giovanni
648:
640:
639:In his book
638:
628:
626:
621:
614:
592:
582:
556:
504:
478:
476:
465:
459:
454:
440:
436:
431:
429:
423:
419:
416:Lake Lucerne
408:Lake Lucerne
399:
397:
372:
370:
360:
358:
353:
344:
343:
332:piano sonata
322:
321:
313:
311:
133:Piano sonata
75:
45:
2312:No. 31 in A
2293:No. 29 in B
2256:No. 26 in E
2245:(À Thérèse)
2237:No. 24 in F
2218:(Waldstein)
2197:No. 18 in E
2159:(Moonlight)
2151:No. 14 in C
2140:No. 13 in E
2129:No. 12 in A
2118:No. 11 in B
1586:Bärenreiter
1409:See, e.g.,
1394:See. e.g.,
1186:January 12,
1016:Alan Wilder
1000:Alicia Keys
995:White Satin
963:Ernst Oster
805:common time
768:Franz Liszt
759:fortepianos
706:triple time
633:Carl Czerny
607:lamentation
491:Paul Bekker
467:Franz Liszt
461:Carl Czerny
284:, recorded
2429:Categories
2376:Doubtful (
2205:(The Hunt)
2167:(Pastoral)
2071:No. 4 in E
1826:Oster 1983
1814:Oster 1983
1213:January 7,
1144:References
998:album and
957:, and the
871:See also:
844:fortissimo
752:sforzandos
720:enharmonic
661:transposed
616:pianissimo
605:called a "
569:alla breve
521:Allegretto
441:Gramophone
177:15 minutes
147:Dedication
72:Other name
1607:Beethoven
1294:cite book
1021:Little 15
983:Carl Bohm
937:Influence
837:sforzando
817:arpeggios
622:piano (p)
517:sostenuto
507:movements
455:Moonlight
320:, marked
182:Movements
166:Publisher
158:Published
150:Countess
2315:♭
2296:♭
2259:♭
2240:♯
2200:♭
2154:♯
2143:♭
2132:♭
2121:♭
2074:♭
1989:♯
1909:(1998).
1749:(2001).
1648:(2002).
1563:53258888
1541:(eds.).
1533:(1932).
1284:(1852).
1241:21 April
1101:(1921).
1072:fantasia
972:♯
944:♯
813:Opus 101
800:♯
739:♯
727:♯
713:♭
666:♯
611:ostinato
562:♯
487:Romantic
444:founder
393:fantasia
174:Duration
139:Composed
99:♭
89:♯
1955:Lecture
1865:Sources
1698:NPR.org
1513:, from
1466:, from
1450:, from
1202:"Quasi"
1105:(ed.).
1031:Because
1026:Beatles
1008:album.
599:triplet
528:agitato
500:prelude
424:Theodor
389:fantasy
2405:Portal
1971:Scores
1895:
1855:Snopes
1759:
1704:10 May
1656:
1561:
1551:
1413:, ed.
1345:
1264:
1137:below.
1117:
1024:. The
883:, and
732:, the
702:minuet
595:octave
526:Presto
515:Adagio
385:sonata
350:German
328:Op. 27
1700:. NPR
1054:Notes
1028:song
941:The C
851:piano
839:(sfz)
754:(sfz)
745:piano
730:major
716:major
671:dirge
565:minor
367:Names
119:Style
102:major
92:minor
2378:Anh.
1893:ISBN
1757:ISBN
1706:2011
1654:ISBN
1629:–29.
1590:ISMN
1559:OCLC
1549:ISBN
1343:ISBN
1300:link
1262:ISBN
1243:2018
1215:2012
1188:2012
1115:ISBN
846:(ff)
756:and
663:to C
627:The
618:(pp)
567:and
473:Form
312:The
298:help
293:file
286:MIDI
256:help
251:file
223:help
218:file
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