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beethoven

beethoven

beethoven Sentence Examples

  • The development of pianoforte technique since Beethoven has been in some ways even more revolutionizing than that of the brass instruments; and pianoforte instrumentation, both in solo and in chamber-music, is a study for a lifetime.

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  • He often thought, If Beethoven or Chopin had centuries to compose music, imagine the treasures we would have.

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  • Beethoven almost always has 2 flutes, and invariably 2 clarinets.

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  • Beethoven, we know, lost sympathy with his early works as he grew older; but that was because his later works absorbed his interest, not because his early works misrepresented his ideals.

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  • Beethoven was trained in the greatest and most advanced musical tradition of his time.

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  • The modern Wagnerian conductor is apt to complain that Beethoven, in his four-bar phrase, drowns a melody which lies in the weakest register of the clarinet by a crowd of superfluous notes in oboes, horns and flutes.

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  • Wagner's earlier works have too long been treated as if they represented the pure and healthy childhood of his later ideal; as if Lohengrin stood to Parsifal as Haydn, Mozart and early Beethoven stand to Beethoven's last quartets.

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  • Similar principles apply in infinite detail to the treatment of wind instruments, and we must never lose sight of them in speculating as to the reasons why the genius of Beethoven was able to carry instrumentation into worlds of which Haydn and Mozart never dreamt, or why, having gone so far, it left anything unexplored.

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  • Magnificent examples are Mozart's trio for pianoforte, clarinet and viola, his quintet for pianoforte, oboe, clarinet, horn and bassoon (imitated by Beethoven), his quintet for clarinet and strings, Brahms's clarinet-quintet for the same combination, and his trio for pianoforte, violin and horn.

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  • Now Wagner's excellent teacher Weinlig did certainly, as Wagner himself testifies, teach him more of good music than Beethoven, Haydn and Mozart could have seen in their youth; for he showed him Beethoven.

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  • in the history of art Vienna owes to its musicians, among whom are counted Haydn, Mozart, Beethoven and Schubert.

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  • He was a man of singularly handsome presence, not without mental qualities of a high order; he was devoted to the arts - Beethoven and Mozart enjoyed his patronage and his private orchestra had a European reputation.

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  • In June 1792 he returned home, and, breaking his journey at Bonn, was presented with a Cantata by Beethoven, then aged two-and-twenty, whom he invited to come to Vienna as his pupil.

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  • in the history of art Vienna owes to its musicians, among whom are counted Haydn, Mozart, Beethoven and Schubert.

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  • He was a man of singularly handsome presence, not without mental qualities of a high order; he was devoted to the arts - Beethoven and Mozart enjoyed his patronage and his private orchestra had a European reputation.

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  • The polyphony of Beethoven was unquestionably influenced by it and, even in his latest sonatas and quartets, may be regarded as its logical outcome.

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  • In Beethoven's orchestration there is almost always room for an independent viola part.

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  • In the orchestras of his day this was perhaps the only safe proceeding for players unaccustomed to such responsibilities, and that may have been one of Beethoven's reasons for it.

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  • These instruments thus produced, in Haydn's and Beethoven's times, a very remarkable but closely limited series of effects, which, as Sir George Macfarren pointed out in the article "Music" in the 9th edition of the Encyclopaedia Britannica, gave them a peculiar character and function in strongly asserting the main notes of the key.

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  • An instance of this characteristic function, specially remarkable because the composer has taken exceptional measures for it, is Beethoven's overture to Fidelio.

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  • Such a passage as bars 5 to 8 in the first movement of Beethoven's 8th symphony is as unintelligible from the point of view of Wagnerian opera as the opening of the Rheingold is unintelligible from the point of view of symphony.

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  • the big drum, cymbals and triangle, was used by Haydn in his Military Symphony, and Mozart in his Entfilhrung, for reasons of "local colour"; it appears as an extreme means of climax in the finale of Beethoven's 9th symphony.

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  • Larger combinations, being semi-orchestral, especially where the double-bass and wind instruments are used, lend themselves to a somewhat lighter style; thus Beethoven's septet and Schubert's octet are both in the nature of a very large serenade.

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  • This progress has perhaps no parallel in any art, and certainly none in music, for even Beethoven's progress was purely an increase in range and power.

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  • But, whatever our doubts, we may safely regard Parsifal as a work which, like Beethoven's last fugues, invites attack rather from those critics who demand what flatters their own vanity than from those who wish to be inspired by what they could never have foreseen for themselves.

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  • It was so early recognized as characteristic of Chopin that a magnificent example may be seen at the end of Schumann's little tone-portrait of him in the Carnaval: a very advanced Wagnerian passage on another principle constitutes the bulk of the development in the first movement of Beethoven's sonata Les Adieux; while even in the " Golden Age " of music, and within the limits of pure diatonic concord, the unexpectedness of many of Palestrina's chords is hardly less Wagnerian than the perfect smoothness of the melodic lines which combine to produce them.

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  • And of Debussy's antipolyphonic art there is less in Wagner than in Beethoven.

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  • As with Shakespeare and Beethoven, the day will never come when we can measure the influence of so vast a mind upon the history of art.

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  • The quartets in particular exhibit a wider range and variety of structural invention than those of any other composer except Beethoven.

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  • Beethoven was born in Bonn, and a statue was erected to him in the Munster-platz in 18 4 5.

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  • In 1889 a museum of Beethoven relics was opened in the house in which the composer was born.

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  • The enormous dramatic development in the symphonic music of Beethoven made the problem of the Mass with orchestral accompaniment almost insoluble.

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  • This makes it all the more remarkable that Beethoven's second and only important Mass (in D, Op. 123) is not only the most dramatic ever penned but is, perhaps, the last classical Mass that is thoughtfully based upon the liturgy, and is not a mere musical setting of what happens to be a liturgic text.

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  • It was intended for the installation of Beethoven's friend, the archduke Rudolph, as archbishop of Olmiitz; and, though not ready until two years after that occasion, it shows the most careful consideration of the meaning of a church service, no doubt of altogether exceptional length and pomp, but by no means impossible for its unique occasion.

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  • Critics who have lived in London during the relief of Mafeking have blamed Beethoven for his realism.

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  • The last two Masses are later than Beethoven's Mass in D and contain many remarkable passages.

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  • It is evident from them that a dramatic treatment of the Agnus Dei was "in the air"; all the more so, since Schubert does not imitate Beethoven's realism.

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  • In his eleventh year he began to play in public there, and Beethoven came to his second concert in April 1823.

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  • He also played Beethoven and Weber in public - a very courageous thing in those days.

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  • His munificence with regard to the Beethoven statue at Bonn made a great stir.

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  • About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.

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  • Later, we find him imitating Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz.

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  • - Concerto pathetique (identical with the Konzert-Solo in E minor); Dante symphony; Faust symphony; Poemes symphoniques, 1-12; Beethoven's 9th symphony.

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  • Cantatas: Prometheus-chore; " Beethoven Cantata "; " An die Kiinstler "; Die Glocken des Strassburger Miinsters; 12 Chore far Mannergesang; Songs, 8 books; Scena, Jeanne d'Arc au bflcher.

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  • - Beethoven's Sonatas; Weber's Concertstack and Sonatas; Schubert Fantasia, 4 Sonatas, Impromptus, Valses and Moments musicaux.

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  • His Leonore (1798) formed the basis of the libretto of the Fidelio of Beethoven.

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  • He often thought, If Beethoven or Chopin had centuries to compose music, imagine the treasures we would have.

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  • Mars, ruler of the 8th, was located therein, contacting Beethoven's natal ascendant.

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  • cheapens astronomy, like using Beethoven for commercial jingles.

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  • compendious notes, wonders if Beethoven himself might have written the adagio variation toward the end.

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  • HORSES Beethoven Beethoven was an Irish 16hh brown gelding owned by Douglas Bunn and ridden by Douglas and by David Broome.

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  • It cheapens astronomy, like using Beethoven for commercial jingles.

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  • A brilliant melodist, colourist and miniaturist, Bizet instinctively composed with the dramatic concision of his heroes Beethoven, Mozart and Mendelssohn.

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  • moonlight sonata: Beethoven Just a great piece of music to lose yourself in.

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  • overshadowed by the dominating presence of Beethoven.

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  • Thomas sent Beethoven a gift of a 6 octave grand pianoforte made from Spanish mahogany.

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  • With short periods away, Beethoven's piano sonatas are probably the most lasting interest I have had in my life.

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  • moonlight sonata: Beethoven Just a great piece of music to lose yourself in.

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  • He then takes the bass solos in Beethoven's ninth symphony for the inaugural performance of the Opera North 05/06 concert season in Huddersfield.

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  • When Beethoven was writing his 9th symphony he requested a piano that had a percussion pedal on it.

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  • At the 1985 AGM Gordon Wilkinson gave us our first taste of CD sound with Neville Marriner's recording of the Beethoven Eroica symphony.

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  • taut rhythms were the hallmark of the Beethoven.

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  • In Beethoven's orchestration there is almost always room for an independent viola part.

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  • Otherwise, when Beethoven has anything special for the violoncellos to say, he invariably softens and deepens their singularly incisive cantabile tones by doubling them with the violas.

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  • In the orchestras of his day this was perhaps the only safe proceeding for players unaccustomed to such responsibilities, and that may have been one of Beethoven's reasons for it.

    0
    0
  • Similar principles apply in infinite detail to the treatment of wind instruments, and we must never lose sight of them in speculating as to the reasons why the genius of Beethoven was able to carry instrumentation into worlds of which Haydn and Mozart never dreamt, or why, having gone so far, it left anything unexplored.

    0
    0
  • These instruments thus produced, in Haydn's and Beethoven's times, a very remarkable but closely limited series of effects, which, as Sir George Macfarren pointed out in the article "Music" in the 9th edition of the Encyclopaedia Britannica, gave them a peculiar character and function in strongly asserting the main notes of the key.

    0
    0
  • An instance of this characteristic function, specially remarkable because the composer has taken exceptional measures for it, is Beethoven's overture to Fidelio.

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  • It is in E major, while Beethoven chooses to use trumpets in C. The only note which these can play in E major is the tonic, to which they are accordingly confined until the recapitulation of the second subject.

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  • This passage shows that if Beethoven had had the modern trumpet at his disposal, while he would no doubt freely have used its resources, he would nevertheless have maintained its character as an instrument founded on the natural scale, and would have agreed with Brahms that the nobility and purity of its tone depends upon its faithful adherence, at least within symphonic limits, to types of melody suggestive of that scale.

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  • Such a passage as bars 5 to 8 in the first movement of Beethoven's 8th symphony is as unintelligible from the point of view of Wagnerian opera as the opening of the Rheingold is unintelligible from the point of view of symphony.

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  • The modern Wagnerian conductor is apt to complain that Beethoven, in his four-bar phrase, drowns a melody which lies in the weakest register of the clarinet by a crowd of superfluous notes in oboes, horns and flutes.

    0
    0
  • The development of pianoforte technique since Beethoven has been in some ways even more revolutionizing than that of the brass instruments; and pianoforte instrumentation, both in solo and in chamber-music, is a study for a lifetime.

    0
    0
  • Beethoven almost always has 2 flutes, and invariably 2 clarinets.

    0
    0
  • the big drum, cymbals and triangle, was used by Haydn in his Military Symphony, and Mozart in his Entfilhrung, for reasons of "local colour"; it appears as an extreme means of climax in the finale of Beethoven's 9th symphony.

    0
    0
  • Larger combinations, being semi-orchestral, especially where the double-bass and wind instruments are used, lend themselves to a somewhat lighter style; thus Beethoven's septet and Schubert's octet are both in the nature of a very large serenade.

    0
    0
  • Magnificent examples are Mozart's trio for pianoforte, clarinet and viola, his quintet for pianoforte, oboe, clarinet, horn and bassoon (imitated by Beethoven), his quintet for clarinet and strings, Brahms's clarinet-quintet for the same combination, and his trio for pianoforte, violin and horn.

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  • This progress has perhaps no parallel in any art, and certainly none in music, for even Beethoven's progress was purely an increase in range and power.

    0
    0
  • Beethoven, we know, lost sympathy with his early works as he grew older; but that was because his later works absorbed his interest, not because his early works misrepresented his ideals.

    0
    0
  • Wagner's earlier works have too long been treated as if they represented the pure and healthy childhood of his later ideal; as if Lohengrin stood to Parsifal as Haydn, Mozart and early Beethoven stand to Beethoven's last quartets.

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    0
  • Beethoven was trained in the greatest and most advanced musical tradition of his time.

    0
    0
  • Now Wagner's excellent teacher Weinlig did certainly, as Wagner himself testifies, teach him more of good music than Beethoven, Haydn and Mozart could have seen in their youth; for he showed him Beethoven.

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  • Where the orchestra shows that Parsifal is becoming half-conscious of his quest while Kundry is beguiling him with memories of his mother, - and also during the two changes of scene to the Hall of the Grail, where the orchestra mingles the agony of Amfortas and the sorrow of the knights with the tolling of the great bells, - the polyphony is almost as dramatic as in Tristan; while the prelude and the Charfreitagszauber are among the clearest examples of the sublime since Beethoven.

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  • But, whatever our doubts, we may safely regard Parsifal as a work which, like Beethoven's last fugues, invites attack rather from those critics who demand what flatters their own vanity than from those who wish to be inspired by what they could never have foreseen for themselves.

    0
    0
  • It was so early recognized as characteristic of Chopin that a magnificent example may be seen at the end of Schumann's little tone-portrait of him in the Carnaval: a very advanced Wagnerian passage on another principle constitutes the bulk of the development in the first movement of Beethoven's sonata Les Adieux; while even in the " Golden Age " of music, and within the limits of pure diatonic concord, the unexpectedness of many of Palestrina's chords is hardly less Wagnerian than the perfect smoothness of the melodic lines which combine to produce them.

    0
    0
  • And of Debussy's antipolyphonic art there is less in Wagner than in Beethoven.

    0
    0
  • As with Shakespeare and Beethoven, the day will never come when we can measure the influence of so vast a mind upon the history of art.

    0
    0
  • In June 1792 he returned home, and, breaking his journey at Bonn, was presented with a Cantata by Beethoven, then aged two-and-twenty, whom he invited to come to Vienna as his pupil.

    0
    0
  • The quartets in particular exhibit a wider range and variety of structural invention than those of any other composer except Beethoven.

    0
    0
  • The polyphony of Beethoven was unquestionably influenced by it and, even in his latest sonatas and quartets, may be regarded as its logical outcome.

    0
    0
  • Beethoven was born in Bonn, and a statue was erected to him in the Munster-platz in 18 4 5.

    0
    0
  • In 1889 a museum of Beethoven relics was opened in the house in which the composer was born.

    0
    0
  • The enormous dramatic development in the symphonic music of Beethoven made the problem of the Mass with orchestral accompaniment almost insoluble.

    0
    0
  • This makes it all the more remarkable that Beethoven's second and only important Mass (in D, Op. 123) is not only the most dramatic ever penned but is, perhaps, the last classical Mass that is thoughtfully based upon the liturgy, and is not a mere musical setting of what happens to be a liturgic text.

    0
    0
  • It was intended for the installation of Beethoven's friend, the archduke Rudolph, as archbishop of Olmiitz; and, though not ready until two years after that occasion, it shows the most careful consideration of the meaning of a church service, no doubt of altogether exceptional length and pomp, but by no means impossible for its unique occasion.

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  • Immense as was Beethoven's dramatic force, it was equalled by his power of sublime repose; and he was accordingly able once more to put the supreme moment of the music where the service requires it to be, viz.

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  • Beethoven read the final prayer of the Mass as a "prayer for inward and outward peace," and, giving it that title, organized it on the basis of a contrast between terrible martial sounds and the triumph of peaceful themes, in a scheme none the less spiritual and sublime because those who first heard it had derived their notions of the horror of war from living in Vienna during its bombardment.

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  • Critics who have lived in London during the relief of Mafeking have blamed Beethoven for his realism.

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  • Schubert's Masses show rather the influence of Beethoven's not very impressive first Mass, which they easily surpass in interest, though they rather pathetically show an ignorance cf the meaning of the Latin words.

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  • The last two Masses are later than Beethoven's Mass in D and contain many remarkable passages.

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  • It is evident from them that a dramatic treatment of the Agnus Dei was "in the air"; all the more so, since Schubert does not imitate Beethoven's realism.

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  • In his eleventh year he began to play in public there, and Beethoven came to his second concert in April 1823.

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  • He also played Beethoven and Weber in public - a very courageous thing in those days.

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  • His munificence with regard to the Beethoven statue at Bonn made a great stir.

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    0
  • About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.

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  • Later, we find him imitating Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz.

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  • At the pianoforte his achievements culminate in the two books of studies, twice rewritten, and finally published in 1852 as Etudes d'execution transcendante, the Etudes de concert and the Paganini Studies; the two concertos and the Todtentanz, the Sonata the Hungarian Rhapsodies and the fine transcriptions of Beethoven's symphonies (the 9th for two pianofortes as well as solo), and of Berlioz's Symphonie fantastique, and the symphony, Harold en Italie.

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  • - Concerto pathetique (identical with the Konzert-Solo in E minor); Dante symphony; Faust symphony; Poemes symphoniques, 1-12; Beethoven's 9th symphony.

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  • in A; Todtentanz; Fantasie ueber Motif aus Beethoven's ' ` Ruinen von Athen "; Fantasie ueber Ungarische National Melodien; Schubert's Fantasia in C; Weber's Polacca in E.

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  • Beethoven's Nine Symphonies; Berlioz's " Symphonie fantastique," " Harold en Italie "; Benediction et Serment (Benvenuto Cellini); Danse des Sylphes (Damnation de Faust); Weber's overtures, Der Freischiitz, Euryanthe, Oberon, Jubilee; Beethoven's and Hummel's Septets; Schubert's Divertissement a la Hongroise; Beethoven's Concertos in C minor, G and E flat (orchestra for a second piano); Wagner's Tannhauser overture, march, romance, chorus of pilgrims; Lohengrin, Festzug and Brautlied, Elsa's Brautgang, Elsa's Traum, Lohengrin's Verweiss an Elsa; Fliegender Hollander, Spinnlied; Rienzi, Gebet; Rheingold, Walhall; Meistersinger, " Am stillen Herd "; Tristan, Isolde's Liebestod; Chopin's six Chants Polonais; Meyerbeer's Schillermarsch; Bach's six organ Preludes and Fugues; Prelude and Fugue in G minor; Beethoven, Adelaide; 6 miscellaneous and 6 Geistliche Lieder; Liederkreis; Rossini's Les Soirees musicales; Schubert, 59 songs; Schumann, 13 songs; Mendelssohn, 8 songs; Robert Franz, 13 songs.

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  • Cantatas: Prometheus-chore; " Beethoven Cantata "; " An die Kiinstler "; Die Glocken des Strassburger Miinsters; 12 Chore far Mannergesang; Songs, 8 books; Scena, Jeanne d'Arc au bflcher.

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  • - Beethoven's Sonatas; Weber's Concertstack and Sonatas; Schubert Fantasia, 4 Sonatas, Impromptus, Valses and Moments musicaux.

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  • His Leonore (1798) formed the basis of the libretto of the Fidelio of Beethoven.

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  • The municipality furthered Wagner's scheme in every way, and in May 1872 the foundation stone of the Festspielhaus was laid, the event being commemorated by a notable performance of Beethoven's Choral Symphony in the old opera-house.

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  • If she knows the difference between Schumann and Beethoven, it is because she has read it, and if she has read it, she remembers it and can tell any one who asks her.

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  • If Rilke or Beethoven can salve the conscience of a guilty man then they too are guilty by association.

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  • When Beethoven was writing his 9th symphony he requested a piano that had a percussion pedal on it.

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  • Complete Beethoven and Brahms symphony cycles with the London Philharmonic Orchestra, conducted by Kurt Masur at the Megaron Concert Hall in Athens.

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  • At the 1985 AGM Gordon Wilkinson gave us our first taste of CD sound with Neville Marriner 's recording of the Beethoven Eroica symphony.

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  • Clarity, freshness and taut rhythms were the hallmark of the Beethoven.

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  • There are many television and movie dogs to compare our own to: Beethoven, Air Bud, Snow Dogs, the Legally Blonde movies and our original movie dog Lassie.

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  • It is more common to find sheet music for classical music from composers such as Bach, Mozart and Beethoven, and traditional music, such as American and Celtic folk music.

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  • The musical styles range from compositions by Albaniz through the usual Bach and Beethoven to Vivaldi.

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  • When you think of classical music, you probably think of famous composers from the past like Bach and Beethoven.

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  • Composer ringtones aren't ringtones featuring tunes from Mozart, Beethoven, or Bach (not necessarily, at least).

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  • She often selected classical composers such as Beethoven, causing unrest throughout the classical dance world as she paired her jolting, unheard of movements with pieces of music often associated with the traditional dance.

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  • So if you're a fan of Beethoven or Whitesnake, you are clearly shooting blanks.

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  • The company is also involved in creating celebrity gems, most notably from locks of Ludwig Von Beethoven's hair, and these specialized diamonds may become a popular celebrity fundraiser in the future.

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  • Daveigh Chase: Voice of Lilo from Disney's popular television series Lilo & Stitch, this young star has also appeared in Carolina, Beethoven's 5th, and Haunted Lighthouse.

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  • Popular films that she has acted in include Troy, Wicker Park, Narco, Copying Beethoven, Days of Darkness, Anything for Her, Inglorious Basterds, and Mr. Nobody.

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  • Felice awoke to the sound of Beethoven's Moonlight Sonata wafting its way up from the inn's conservatory.

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  • By contrast, when you open you catchment to the entire United States, you find much more variety and plenty of opportunities to enjoy everything from Bach to Beethoven, baroque to romantic.

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  • Classical - These are compositions by the great masters such as Mozart, Beethoven, and Bach.

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  • The summer musical events, aside from traditional performances of the works of such composers as Mozart, Beethoven, Mahler, Strauss and others, also often include works and performances by more recent composers.

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  • Though she has a love of hard rock music, Kat is a classically trained piano player and says that her favorite artist is Beethoven.

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  • Kat Von D's paternal grandmother had a significant effect on her artistic development, introducing her to the piano and Beethoven's music at a young age.

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  • Otherwise, when Beethoven has anything special for the violoncellos to say, he invariably softens and deepens their singularly incisive cantabile tones by doubling them with the violas.

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