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・ Cello Sonata (Franck/Delsart)
・ Cello Sonata (Grieg)
・ Cello Sonata (Poulenc)
・ Cello Sonata (Prokofiev)
・ Cello Sonata (Rachmaninoff)
・ Cello Sonata (Shostakovich)
・ Cello Sonata No. 1
・ Cello Sonata No. 1 (Brahms)
・ Cello Sonata No. 1 (Mendelssohn)
・ Cello Sonata No. 2
・ Cello Sonata No. 2 (Brahms)
・ Cello Sonata No. 2 (Mendelssohn)
・ Cello Sonata No. 3 (Beethoven)
・ Cello Sonatas (Vivaldi)
・ Cello Sonatas Nos. 1 and 2 (Beethoven)
Cello Sonatas Nos. 4 and 5 (Beethoven)
・ Cello Song
・ Cello Suites (Bach)
・ Cello suites (Britten)
・ Cello Symphony (Britten)
・ Cello technique
・ Cello étude
・ Cellobiohydrolase
・ Cellobiose
・ Cellobiose dehydrogenase (acceptor)
・ Cellobiose epimerase
・ Cellobiose phosphorylase
・ Cellocidin
・ Cellodextrin
・ Cellodextrin phosphorylase


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Cello Sonatas Nos. 4 and 5 (Beethoven) : ウィキペディア英語版
Cello Sonatas Nos. 4 and 5 (Beethoven)

The Sonatas for cello and piano No. 4 in C major, Op. 102, No. 1, and No. 5 in D major, Op. 102, No. 2, by Ludwig van Beethoven were composed simultaneously in 1815 and published in 1817 with a dedication to the Countess , a close friend and confidante of Beethoven's.
==History==
The sonatas were composed between the end of 1812 and 1817, during which time Beethoven, ailing and overcome by all sorts of difficulties, experienced a period of literal and figurative silence as his deafness became overwhelmingly profound and his productivity diminished. Following seven years after the A Major Sonata No. 3, the complexity of their composition and their visionary character marks (with the immediately preceding piano sonata Op 101) the start of Beethoven’s `third period’.
The critics of the time, often perplexed by Beethoven’s last compositions, described the sonatas in terms such as the following from the ''Allgemeine musikalische Zeitung'':〔Reproduced in: and , ''Ludwig van Beethoven'', Fayard, Paris 1967, p. 682〕

They elicit the most unexpected and unusual reactions, not only by their form but by the use of the piano as well…We have never been able to warm up to the two sonatas; but these compositions are perhaps a necessary link in the chain of Beethoven's works in order to lead us there where the steady hand of the maestro wanted to lead us.

Although played less often than Sonata No. 3, Sonatas Nos. 4 and 5 are now essential elements in the basic repertory of works for cello and piano.

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