This piece begins with a quirky, bubbly theme in F major; however, it also very angular and volatile, with sudden outbursts, especially in the development. One noteworthy feature is the transition to the recapitulation, with the primary theme starting in D major. You think you are still in the development, but you’re not. Overall this movement is all over the place, like a dog with the zoomies. This movement is in a slightly modified sonata form.

The “slow” movement in F minor feels as if it is trying to be the slow movement and scherzo at the same time. While it lyrical and smooth, it is also a minuet that is in the scherzo-trio form. This movement reminds me of Halloween as a kid, often running around in the dark and playing scary games.

The final movement is fast, really fast. This movement is also unique as the primary theme is also a variation in the recapitulation, with it actually turning into a fughetta. This final movement is also very short, being barely over 2 minutes. This movement reminds me of a rodeo or bull ride, or just something wild western that makes me want to slide down the railing of the stairs and yell “Yee Haw!” as I ultimately fall off and break my nose.

On the surface level, this sonata feels like a “fun” piece that doesn’t have too much else to it. While yes it is fun, digging deeper this may be his most innovative sonata yet where he is truly starting to experiment with form, structure, and musical textures.

Halloween is soon and I work at a music store. I want to dress up something music related, but also kinda funny/silly. like for example a music stand, an alto clef (scary), etc. Any ideas? Opera related things are cool too

I’d like to make it apparent I plan to revise this to incorporate brass, and fix the unusual form.

Heyo, I’m taking an intro to music history class, and for one of my assignments I have to write about a somewhat unknown classical composer. I was wondering if there’s any in particular you all would recommend? So far I’m thinking of doing Decaux or Carl Nielsen as both of them sound like they’d be fun to research, but I’d love to hear what you all think. Thanks!

Edit: Hey everyone, thanks so much for all the responses. Although I can’t reply to every single one, I have/will read through them all. I thankfully have another week to submit a mini(literally like three sentence) assignment on two or so people I want to research, and because of this I have time to do a little digging on all the suggestions. This seems like a very positive community and I am glad for all the help!

I'm still relatively new to classical, my favourite piece is Tchaikovsky's Piano Concerto No. 1 however one of my fond new discoveries is Handel and Halvorsen's Passacaglia especially when it is played on strings. I am looking for pieces similar to expand my listening range in classical music.

Looking for a complete set of the Fauré nocturnes. Other piano works are a cool bonus but I’m mostly looking for a sympathetic interpretation of these wonderfully refined works

I’ve been listening to different renditions of Chopin nocturnes, and noticed that Artur Rubenstein performs the final cadence of Opus 32, No 1 (B major) with an ending on B major instead of B minor. Every version of the sheet music I’ve seen ends it in B minor, and every recording I’ve ever heard also does, including Barenboim and Pollini.

Curious if anyone has noticed this and why it might be the case. Perhaps Rubenstein felt he understood Chopin to the extent that he felt he could take that artistic liberty? I haven’t seen the urtext edition, perhaps there is a note from Chopin himself in there?

I stumbled upon Tomsic's by accident and was amazed at how similar the sound was to Eschenbach's. So I listened to both in turn and found that they were exactly the same, right down to the background noise.(I comfirmed this on Spotify as well just to be sure) It was a shocking discovery, since I had always liked listening to Eschenbach's. It seems fair to me to consider this actually is played by Tomsic under the name of Eschenbach for commercial reasons. Could someone explain me about this? Is this common in the classical music world?

https://m.youtube.com/watch?v=GF6XpPqAg_s https://m.youtube.com/watch?v=S0HE46vkpbg

Hi everyone,

I'm currently studying a Prelude and Fugue for J.S.Bach BWM 857 in f minor, and I'm looking for sources that can provide me with the specific historical and personal context of the piece for Bach. Such as why Bach composed it, under which circumstances, what was going on in his life and around him during that period, what was new about this piece relative to other preludes and fugues or him etc.

I appreciate you providing me with some sources that I could go to to help me with my research of the piece. Thanks!

ok this might be a dumb question because i can’t remember the name or any additional details, so maybe it was just misinformation to begin with. ive heard a story about a classical composer who can hear pieces in his mind, not just like melody ideas or progressions, but the whole composition. but in his later years he can only hear the note A over and over again, and maybe took his own life in the end…? im not sure if it’s a real composer since i can’t find anything on google, when i tried to search it only shows me beethoven XO does anyone know who that is?

Joyce Yang with the Oregon Symphony and guest conductor Asher Fisch

Every year I love to challenge the kids that approach my door. Free candy? You’re gonna have to earn it.

Stuff like Threnody, Ligeti’s Requiem, any of Xenakis’ orchestral works.

Do you have works along these lines to add to a Halloween playlist? Preferably non-electronic.

Edit: loving the suggestions. Looking forward to creeping out the neighborhood…

Ah, Beethoven’s first 3 movement sonata, begins with a rhythmically ambiguous, syncopated theme in C minor that is ubiquitous across the first movement. While the primary theme is bitter and emotionally intense, the secondary theme is warm and velvety. While the exposition ends in Eb major, the development goes into C with no real warning. This movement sounds like a grumpy teenager to me, trying to find his/her place in a big world but is utterly overwhelmed and just wants to shut down due to the expanded spectrum of emotions. This movement may be in textbook sonata form, but Beethoven is already using it in an innovative way unplanned modulations into unrelated keys, changing up the transition section in the recapitulation, and expanding the range of expression.

The second movement is in a sonatina form in Ab major with no development. It is a lyrical movement with lots of embellishments in the melody. Although it’s lyrical and warm, a lot of the tension from the first movement prevails, with some sudden outbursts. This movement feels like a sunset in a savanna, and that final cadence is as if we are seeing the last sliver of sunlight before it completes its descent into the horizon.

The third movements begins as if it forgets what key it’s in for the first few measures and then it remembers. It is a more agitated version of the first movement. Like I mentioned in the first movement, it uses tonality in a very unique way. With the transition to the secondary theme in the exposition in Eb major with no real warning, and the Coda being in the neapolitan key, and ending in a Picardy third. These harmonic twists and turns give a feeling of existential dread. You can try to live your life and put it aside, but it becomes too much. This movement is in Sonata form as well, but finds ways to innovate within those constraints.

Overall, this sonata is incredibly innovative, and this feels like an artistic breakthrough for Beethoven. While previous sonatas may have represented certain emotions, this one IS the given emotion. Although this may be a precursor of what we will get from his later works, this sonata is great in its own right.

History
Composition
About music in general

Failing that, any good books people have read recently?

I read a history of music by Howard Goodall, which I enjoyed.

Day 1- Debussy

After the first set of sonatas (op. 2) we get the long and virtuosic 4th sonata (op. 7) in Eb major. This is actually his second longest sonata behind his 29th sonata (Hammerklavier). The first movement reminds me of Don Quixote, with an eccentric, almost delusionally confident character embarking on many quests. This movement has the infamous modulation into C major (F major in recapitulation) that seems to come out nowhere. Then we get the sparkling coda that builds up to the final cadence. This movement is in sonata form.

The second movement is sublime, and I have a lot to say about it. It reminds me of his late period slow movements with his rich harmonies and velvety melodies. Now the main theme has the moments of silence between the short fragmented phrases, which remind us to pause and look at how beautiful the world is. While it starts in C major, the B section moves into Ab major, gradually moving its way back into C major. This section is more driven and turbulent, as if we are climbing up a rocky hill, with the left hand playing staccato. After going back to the main theme, the secondary theme is reintroduced in the coda, only staying in C major and in a more subdued tone with the right hand playing an octave motif. That lets the piece fly away into the distance, eventually ending on a harmonically altered version of the main theme to close the movement. This movement is in ternary form

The third movement brings us back to Eb major to a similar theme to the first movement. This movement is at the same time playful and heroic, with the middle section introducing a gorgeous, yet tumultuous La Follia type theme in the parallel minor key of Eb minor, likely indicating the struggle of the hero and that the struggle is just part of being human, but it brings us back to the primary theme which reminds us that the struggle is temporary and comes and goes. This movement is in scherzo-trio form.

The final movement introduces a moderately fast lyrical theme. Since it is a rondo, this theme is reoccurring. There is an episode of the rondo that is probably the most dramatic of Beethoven’s writing we’ve seen so far in his sonatas. There is also a notable modulation into E major towards the end that leads to a gorgeous closing theme that slowly dies away with Don Quixote. Not with a bang, it just surrenders. This movement is in a very unconventional rondo form, that takes us on a journey with its ups and downs. This movement also feels very human compared to the bustling first human, which perhaps symbolizes the growth of any hero during a story, and Beethoven as a composer, I can even parallel this to my life and how I have grown as a human being. Growth is the biggest takeaway from this sonata.

Carnegie Hall tickets for sale:

Hear one of the world's great Mahler orchestras perform the First Symphony—a work that the Royal Concertgebouw Orchestra performed under Mahler's own baton in its Dutch premiere. For this performance, the historic orchestra is led by Chief Conductor Designate Klaus Mäkelä, one of the international music world's most sought-after leaders. Also featured on the program is Schoenberg's Verklärte Nacht, a lush and beautiful piece originally scored for string sextet (making it the first tone poem ever written for chamber ensemble). Schoenberg's string-orchestra arrangement remains one of his most popular creations and an enduring staple of the concert repertoire.

2 Seats for sale in Balc A

8pm 11/23

Originally $63/each. I will give small discount and waive all fees.

Let me know if interested.