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Beethoven Piano Sonata No 24 in F sharp major Opus 78 (À Thérèse)
After a pause of four years, Beethoven returned to the piano sonatas genre in 1809. Unlike its predecessor, the F minor Sonata op. 57 (the “Appassionata”), this work strikes a new and lyrically cantabile tone that must have been the reason for its tradition-breaking two-movement structure; a slow middle movement would not have provided the necessary contrast to the outer ones. Just as unusual as the key of opus 78 is its four-measure Adagio introduction; this does not directly refer to the subsequent motifs and themes, and serves no other purpose than to “conjure up the atmosphere of the entire sonata in our hearts”.
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Beethoven Piano Sonata No 24 in F sharp major Opus 78 (À Thérèse)
Beethoven Piano Sonata No 24 in F sharp major Opus 78 (À Thérèse)
After a pause of four years, Beethoven returned to the piano sonatas genre in 1809. Unlike its predecessor, the F minor Sonata op. 57 (the “Appassionata”), this work strikes a new and lyrically cantabile tone that must have been the reason for its tradition-breaking two-movement structure; a slow middle movement would not have provided the necessary contrast to the outer ones. Just as unusual as the key of opus 78 is its four-measure Adagio introduction; this does not directly refer to the subsequent motifs and themes, and serves no other purpose than to “conjure up the atmosphere of the entire sonata in our hearts”.
$10.95
Beethoven Piano Sonata No 24 in F sharp major Opus 78 (À Thérèse)—
$10.95
Product Information
Product Information
Shipping & Returns
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Description
After a pause of four years, Beethoven returned to the piano sonatas genre in 1809. Unlike its predecessor, the F minor Sonata op. 57 (the “Appassionata”), this work strikes a new and lyrically cantabile tone that must have been the reason for its tradition-breaking two-movement structure; a slow middle movement would not have provided the necessary contrast to the outer ones. Just as unusual as the key of opus 78 is its four-measure Adagio introduction; this does not directly refer to the subsequent motifs and themes, and serves no other purpose than to “conjure up the atmosphere of the entire sonata in our hearts”.