407:
370:
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41:
392:. Much of the subject matter is rhythmically repeated consecutively as well as sectionally, perhaps to emphasise the feelings of uncomfortable solitude and fear of no return. The arrival of the dominant seventh chord at the end of movement signals the return to the tonic key, but remains unresolved until the triumphant appearance of the main theme in the final movement (which begins
343:
20:
221:
An average performance of the piece lasts about 17 minutes. The sonata is one of
Beethoven's most challenging sonatas because of the mature emotions that must be conveyed throughout as well as the technical difficulties involved. It is also the bridge between his middle period and his later period
350:
The first movement oscillates between a turbulent first subject which portrays deep disturbance and a second subject which is more lyrical in nature and gives the impression of reflections. The rhythmic figure of two short notes and a longer note which is used repeatedly in the first subject is
438:
time. After the startling introduction, the first subject appears in the right hand and is immediately transferred to the left hand then repeated twice with an elaboration of the arrangement in the right hand. Before the second subject group arrives, there is one remarkable bridge passage,
78:
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358:
which occupies over a quarter of the movement's length. The coda encompasses both the subjects in a display of powerful mastery over composition. Typically the movement played with the expected repeats lasts a little over 7 minutes.
88:
351:
developed inexorably through the "development" section with rich harmonies and discords which are harmonically closer to the later period of
Beethoven's compositions than the middle for their intellectual penetration.
50:
179:, to leave the city. Yet, there is some uncertainty about this nature of the piece — or at least, about the degree to which Beethoven wished this programmatic nature should be known. He titled the three movements "
478:
said that Dussek's sonata could "have been a model for the Les Adieux Sonata by
Beethoven ten years later." Marvin further points out the similarities in motives and form in Beethoven's sonata to Dussek's.
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967:
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were originally written in German and French, and the last two movements are described in German because of the unusual tempo. The translation in
English shown in italic as below:
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On the first 1811 publication, a dedication was added reading "On the departure of his
Imperial Highness, for the Archduke Rudolph in admiration".
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is harmonically built on variations of the diminished chord and the appoggiatura. The movement is very emotional and is often played with
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331:("Fare-thee-well"). This motif is the basis upon which both the first and the second subject groups are drawn. As soon as the
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632:- Music (Volume 15: Nov. 1898 to Apr. 1899) edited by W.S.B. Mathews; published by Music Magazine Publishing Company
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148:("The Farewell"), was written during the years 1809 and 1810. This sonata was influenced by
203:" (said to whole assemblies or cities) as a poor translation of the feeling of the German "
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209:" (said heartfully to a single person). Indeed, Beethoven wrote the syllables "
197:" ('farewell', 'absence', and 'reunion'), and reportedly regarded the French "
117:
449:
532:"In the Footsteps of Jan Ladislav Dussek: An Interview by Paul Archambault"
506:
261:
256:): Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck –
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381:
316:
18:
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and is considered the third great sonata of the middle period.
978:
39:
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First two bars of the piece, indicating the syllables "
396:). Typically the movement lasts just under 4 minutes.
464:
It has been said that this sonata was influenced by
1004:
976:
960:
907:
805:
677:
445:major to F major chords, first through distinctive
271:): Vivacissimamente (Im lebhaftesten Zeitmaße –
840:No. 19 in G minor and No. 20 in G major, Op. 49
384:that would be found in later composers such as
347:(alla breve) and the score is marked Allegro.
968:Sonata in D major for piano four-hands, Op. 6
651:
600:(interactive score) on Verovio Humdrum Viewer
327:, over which are written the three syllables
8:
210:
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198:
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171:nature. The French attack on Vienna, led by
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258:In walking motion, but with much expression
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593:International Music Score Library Project
598:Piano sonata no. 26 in E♭ major, op. 81a
488:
339:begins, the time signature changes to
115:
1042:Piano sonatas by Ludwig van Beethoven
604:Recording by Paavali Jumppanen, piano
439:introducing a phrase that goes from G
354:The movement has a surprisingly long
323:of three chords, at first forming an
29:" over the three-note theme, here an
7:
175:in 1809, forced Beethoven's patron,
620:Sonate für Klavier (Es-Dur) Op. 81a
585:on Beethoven's piano sonata Op. 81a
116:Problems playing these files? See
14:
452:, then in a more delicate, fine
405:
368:
341:
292:
93:
74:
55:
993:Piano Sonata in C major, WoO 51
608:Isabella Stewart Gardner Museum
505:Jaynes, Edwin Thompson (1991).
273:The liveliest time measurements
215:" over the first three chords.
626:Sonate Characterisque (Op. 81)
1:
1021:Sonatina in F major, Anh. 5/2
1016:Sonatina in G major, Anh. 5/1
560:. New York: Alfred A. Knopf.
267:Das Wiedersehen (Le Retour –
154:sonata with the same nickname
1052:Compositions in E-flat major
818:No. 17 in D minor, Op. 31/2
622:(www.beethoven-haus-bonn.de)
988:Three Piano Sonatas, WoO 47
813:No. 16 in G major, Op. 31/1
742:No. 10 in G major, Op. 14/2
628:Analysis and commentary by
508:The Physical Basis of Music
460:Relation to Dussek's Sonata
239:Das Lebewohl (Les Adieux –
1073:
952:No. 32 in C minor, Op. 111
936:No. 30 in E major, Op. 109
917:No. 28 in A major, Op. 101
858:No. 23 in F minor, Op. 57
845:No. 21 in C major, Op. 53
794:No. 15 in D major, Op. 28
737:No. 9 in E major, Op. 14/1
724:No. 7 in D major, Op. 10/3
719:No. 6 in F major, Op. 10/2
714:No. 5 in C minor, Op. 10/1
530:Archambault, Paul (1979).
511:. Unpublished. p. 798
899:No. 27 in E minor, Op. 90
880:No. 25 in G major, Op. 79
853:No. 22 in F major, Op. 54
729:No. 8 in C minor, Op. 13
695:No. 3 in C major, Op. 2/3
690:No. 2 in A major, Op. 2/2
685:No. 1 in F minor, Op. 2/1
252:Abwesenheit (L'Absence –
243:): Adagio – Allegro (in E
16:Piano sonata by Beethoven
556:Kolodin, Irving (1975).
417:, starts joyfully on a B
130:Piano Sonata No. 26 in E
423:dominant 7th chord, in
230:The three movements of
1057:Music with dedications
558:The Interior Beethoven
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300:The sonata opens in a
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199:
193:
187:
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162:
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34:
25:
630:Frederic Horace Clark
319:with a short, simple
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671:Ludwig van Beethoven
413:The finale, also in
400:III. Das Wiedersehen
126:Ludwig van Beethoven
89:III. Das Wiedersehen
589:Piano Sonata No. 26
325:interrupted cadence
150:Jan Ladislav Dussek
31:interrupted cadence
378:Andante espressivo
173:Napoléon Bonaparte
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35:
1047:1810 compositions
1029:
1028:
997:
566:978-0-394-46626-2
99:
80:
61:
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995:
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945:
927:
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832:major, Op. 31/3
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786:minor, Op. 27/2
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591:: Scores at the
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536:Syracuse Scholar
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476:Frederick Marvin
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335:is over and the
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177:Archduke Rudolph
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930:(Hammerklavier)
928:major, Op. 106
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891:major, Op. 81a
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775:major, Op. 27/1
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390:Johannes Brahms
386:Robert Schumann
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363:II. Abwesenheit
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287:I. Das Lebewohl
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70:II. Abwesenheit
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51:I. Das Lebewohl
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947:major, Op. 110
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872:major, Op. 78
863:
860:(Appassionata)
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806:Middle sonatas
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708:(Grand Sonata)
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573:External links
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495:Kolodin, 1975.
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106:Artur Schnabel
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820:(The Tempest)
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764:major, Op. 26
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753:major, Op. 22
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706:major, Op. 7
698:
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691:
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683:
682:
680:
678:Early sonatas
676:
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668:
667:Piano sonatas
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583:András Schiff
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466:Dussek's own
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456:arrangement.
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977:Unnumbered (
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909:Late sonatas
893:(Les adieux)
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731:(Pathétique)
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513:. Retrieved
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474:The pianist
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467:
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393:
377:
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353:
349:
333:introduction
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257:
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241:The Farewell
240:
231:
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169:programmatic
160:
158:
144:
143:
129:
124:
941:No. 31 in A
922:No. 29 in B
885:No. 26 in E
874:(À Thérèse)
866:No. 24 in F
847:(Waldstein)
826:No. 18 in E
788:(Moonlight)
780:No. 14 in C
769:No. 13 in E
758:No. 12 in A
747:No. 11 in B
415:sonata form
254:The Absence
194:Wiedersehen
188:Abwesenheit
142:, known as
1036:Categories
1005:Doubtful (
834:(The Hunt)
796:(Pastoral)
700:No. 4 in E
483:References
468:Les Adieux
337:exposition
329:Le-be-wohl
269:The Return
232:Les Adieux
212:Le-be-wohl
167:implies a
163:Les Adieux
159:The title
145:Les Adieux
118:media help
104:Played by
26:Le-be-wohl
606:from the
579:A lecture
450:arpeggios
944:♭
925:♭
888:♭
869:♯
829:♭
783:♯
772:♭
761:♭
750:♭
703:♭
614:Articles
442:♭
420:♭
278:♭
246:♭
206:Lebewohl
191:", and "
182:Lebewohl
133:♭
551:Sources
515:20 July
394:attacca
275:) (in E
262:C minor
136:major,
108:in 1932
564:
382:rubato
317:Adagio
281:major)
260:) (in
249:major)
200:Adieux
454:piano
447:forte
321:motif
315:time
1007:Anh.
562:ISBN
542:(1).
517:2015
388:and
376:The
356:coda
226:Form
185:", "
979:WoO
961:Duo
669:by
581:by
152:'s
140:81a
138:Op.
128:'s
1038::
538:.
534:.
471:.
156:.
1009:)
981:)
659:e
652:t
645:v
568:.
540:1
519:.
431:8
308:4
264:)
120:.
33:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
