Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)

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Sheet Music

The mood is rudely broken by a ferocious version of the theme in minor that quickly dissipates to allow for the entrance of the second subject , a beautiful combination of a rising scale cello against a falling arpeggio piano. The cello and piano continue trading motifs, each repeating what the other has just played.

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A heroic closing theme is the culmination of the section and a brief, contemplative recollection of the opening motif leads to the repeat of the exposition. The development explores even more incredible worlds, turning mysterious , rhapsodic , stormy , soaring , and mystical before reaching the recapitulation, where the cello plays the theme in its original form against triplet decorations in the piano. The coda is thoughtful, and an extended chromatic buildup leads to a heroic statement of the theme.

After some dreamy, languishing music almost dies away, Beethoven finishes this great movement with a surprise forte. The extraordinary Scherzo: Allegro molto is the only appearance of a scherzo meaning "joke" in all five sonatas. The music begins on the upbeat, and the rhythm never ceases, even in the happier trio section Although there are many clever exchanges, the incessant, manic energy leaves the distinct impression that this scherzo is no joke. A short Adagio cantabile, a beautiful song for both instruments, relieves the nervousness of the scherzo.

A moment of hesitation leads to the quiet, almost surreptitious appearance of the final Allegro vivace. The theme, though happy like its predecessors in the earlier sonatas, is more lyrical and has greater emotional depth. It introduces a movement in which the composer employs virtuosity not as an end in itself, but as a means of creating internal excitement.

The second subject presents a difference of opinion between cello and piano, the cello singing a short phrase, the piano responding with percussive eighth-notes. The development section is mostly wild, with flying scales and pounding octaves. Approaching the recapitulation, Beethoven employs the basic materials of the movement: the rhythmic eighth-note accompaniment is combined with chromatic gropings for the main theme The coda is full of thoughtfulness and pathos. There is a senseof reflection amidst excitement, of Beethoven yearning to be understood yetwith satisfaction denied.

After a series of repeatedly unsuccessful attempts to reach the home key , A major is finally attained, as the eighth-note melody accelerates to frenzied sixteenths. The ending is triumphant, as Beethoven hammers his point home, the cello repeating the first bar of the theme over and over again with the piano pounding out the eighth-note accompaniment "I will not give up! The Late Sonatas of Sonatas Op.

Gabriel Fauré - Cello Sonata No. 2 op. 117(1921)(with full score)

They are the last works Beethoven wrote for piano and a solo instrument. Many of Beethoven's works were played at her house concerts, and she remained loyal to Beethoven in his later years when his music was losing its widespread public appeal. First performance: summer, , at the country estate of the countess. Joseph Linke was the cellist and the countess played the piano.

Published: , Bonn. Other works from this period: very few. These sonatas are regarded as Beethoven's only significant works from the year As in the A major sonata, the cello begins alone, but in an entirely new world. Whereas the A major theme is solid and firmly grounded in the cello's lower register, this one breathes an unearthly air, and the entire Andante seems to float somewhere beyond reality. The writing is contrapuntal, with independent voices of equal importance moving gently against each other. The thematic material is once again more complex: the decorative elements Beethoven once applied in his early period are now fused seamlessly into the larger structure.

Long trills function not merely as ornaments but as orchestration, adding inner intensity to the sound. The demonic and anguished Allegro vivace shatters the hypnotic serenity, Beethoven using every possible device to contrast with the previous music.

Beethoven | Sonata in G minor, Op. 5 No. 2 for cello and piano

Not only dynamics, rhythm and texture are changed but also tonality: the rest of the movement is no longer in the sonata's main key of C major but in the relative A minor. In the op. This movement is written in a style new to Beethoven's cello works.

In his late period, Beethoven drastically varied the length of his movements. Some of his shorter movements, while having all the structural requirements, are devoid of transitions - Beethoven simply stops writing one kind of music and begins writing another, as if manners and civility had ceased to matter. This happens near the outset of the Allegro where Beethoven uses a surprise F-sharp to stop the motion dead in its tracks.

Out of nowhere the second subject appears - soothing, quiet, but only for a moment. Turmoil returns and the feisty movement is at the double bar before one realizes it A very brief development section contains two ideas: a contrapuntal one followed by a brief chorale, leading to the stormy recapitulation An abrupt "get out and stay out! An interesting comparison is the first movement of the Op.

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Beethoven was fascinated by the stars and is reported to have composed in his head while contemplating the mysteries of the universe. Certainly the slow-motion Adagio evokes an other-worldly atmosphere. The movement's timeless feeling is gently punctuated by fleeting scales, as distant as comets.

The mystery soon turns to brooding, with a turbulent modulation moving through several keys before coming to an inconclusive halt.

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At this moment, a different kind of music emerges , deeply tender in a way that is unique to Beethoven. He then proceeds to create something unexpected and of inspired beauty: the sonata's opening theme reappears , but this time so warmly that its first incarnation seems only a dream. Phrases repeat over and over, as if asking for something in prayer. After this deeply confessional episode, the Allegro vivace begins in a humorous way , and we are off on a frisky and sometimes funny adventure, full of fantasy and invention.

There are inexplicable starts and stops which must have sounded very strange to listeners in Beethoven's time as indeed they still do. There is a fugato passage and, at the end, a brilliant coda that shows he had not lost interest in using virtuosic feats to create excitement. After a brief unwinding, a surprise finish recalls the end of the F major sonata. Sonata in D major, Op.

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Both works employ baroque elements, such as the continuous sixteenth-note patterns found in Vivaldi and Bach. Beethoven's application of this style is powerful: in the opening Allegro con brio he uses the figurations like weapons, firing them off here and there, like a frightened soldier in the dark Schubert may well have heard and copied Beethoven's opening five notes in his "Death and the Maiden" quartet of , which also includes baroque-style passage work. Although showing strength and confidence, this movement contains odd tentative moments, for example the vague and distracted-sounding transition to the second subject In the development , there is feverish wandering, madness and confusion.

No longer composing music that was easy to understand, Beethoven gradually came to be regarded as a mad genius. The next movement, especially, offers an extraordinary contrast to the heavenliness of the previous sonata. As with the Op. Indeed, the haunting Adagio con molto sentimento d'affetto is the most profound music in the entire cycle, the deathly opening evoking images of funerals.

Cello Sonatas Nos. 1 and 2 (Beethoven) - Wikipedia

Beethoven uses thickly-written hords in the piano to create a muddy, rumbling sound he could be called the first tone-painter of the piano. After the suspenseful opening, a dirge begins , the pianist's left hand sounding like the slow falling of horses' hooves. A new theme and a change to D major recall better times The return of the opening music is more complex harmonically.

Born in Barcelona in , he was discovered at the age of nine by a young Catalan cellist just starting out on his career, the year-old Pablo Casals, and Gaspar was accepted to study with him in Paris on a scholarship from his native city. During his long studies with Casals in Paris, he absorbed the many aesthetic crosswinds blowing through the French capital, coming to admire the spiky modernism of Stravinsky, the impressionism of Ravel, and the Spanish nationalist sentiments of Manuel Da Falla.

Cervera suggests that the two presentations of the opening theme, one forte , the other piano , represent in turn Don Quixote and his beloved, Dulcinea. The second movement is a sardana, the folk dance most closely associated with the Catalonian nationalist revival of the 19th century.

The sardana is a round dance accompanied by a cobla wind band comprising a high-whistling flaviol wooden fipple flute , double-reed shawms and various brass instruments. The opening, played entirely in harmonics, imitates the high whistling sound of the flaviol summoning the dancers to the town square. The sardana is a dance in three parts, the middle section being more lyrical and in a minor key. The frequent changes in register on the cello imitate the way that various sections of the band interact. The last movement is the one in which the spirit of the dance is most evident, with the snap of castanets imitated in sharp, abrupt rhythms, the strumming of the guitar in flamboyant arpeggio patterns, and the harmonies of Spanish folk music in the distinctive pattern of the four-note descending bass line.

Each begins with an introductory adagio leading into a sonata-form allegro and ends with a rondo finale.

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Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score) Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)
Cello Sonata No. 2 in G Minor, Op. 5, No. 2 (Piano Score)

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