Piano Tiles 2 Beethoven - Piano Sonata No.21 "Waldstein" (3 CUSTOM SONGS + DOWNLOAD) скачать в хорошем качестве

Piano Tiles 2 Beethoven - Piano Sonata No.21 "Waldstein" (3 CUSTOM SONGS + DOWNLOAD)

Download Link (HD): https://drive.google.com/file/d/0B24M... Download Link (Standard): https://drive.google.com/file/d/0B24M... Additional Information: Beethoven began work on the Waldstein sometime in December of 1803 or January of 1804, immediately after having finished the composition of his Third Symphony, the Eroica. The sheer length and power of the Eroica; its breathtaking degree of contrast and dramatic range; the relatively huge orchestra it called for; its amazing degree of motivic development, harmonic invention, and rhythmic drive; and its heroic expressive message all combine to create a piece of symphonic music the likes of which no one had ever heard to its time or even imagined as being possible. The Piano Sonata in C Major, op 53 (Waldstein), was the first piano sonata Beethoven composed after having drafted his Third Symphony, and we can be assured that more than a little of the revolutionary spirit of the Third Symphony rubbed off on the Waldstein Sonata! The first movement opens with repeated chords, played pianissimo. This initial straightforward, but anxious rhythm is devoid of melody for two bars. It then swiftly ascends upward and follows with a three-note descent in the middle register and a four-note descent in the upper. More of this teasing rhythm rumbles forward, until 45 seconds later where the notes seem to almost stumble over themselves. The second subject group, marked dolce, is a sweet chordal theme in E major. Though not unprecedented (the first movement of the op 31-1 sonata also has a second group in the mediant), this was the first major work in which Beethoven had chosen to modulate elsewhere than the customary fifth up for the second group, an idea to which he would return later (in the Hammerklavier Sonata, for example). For the recapitulation, Beethoven transposes the second subject into A major, which quickly changes into A minor and then back to C major again. The movement ends in a heavy coda. The second movement is a short Adagio set in jutting 6/8 time as an introduction to the third movement. At once halting, angular, and tranquil, the music gradually gets more agitated before calming down to segue into the Rondo. This movement replaced an earlier, longer middle movement, which was later published separately as the Andante Favori, WoO 57. Opening bars of final movement rondo begins with a sweet and consoling tune played pianissimo, which soon comes back fortissimo, over daringly fast scales in the left hand and a continuous trill on the dominant in the right. Beethoven then introduces the second theme - a series of broken chords in triplets - but soon interrupts it with a turbulent section in A minor that foreshadows the central episode. Soon the music returns to C major, and the sweet theme is repeated before being followed by a series of staccato octaves in C minor that mark the start of the central episode, one of the few cases of where such melodic change is seen, a theme repeated in larger works like the Emperor Piano Concerto. Soon the octaves are accompanied by swirling triplets in first the left and then right hands; the music grows more tense and runs into a series of angular chords, which transitions into a more quiet section, which returns after much drama to the C major theme, now played in a triumphant fortissimo. The second theme reappears, followed by another long line of beautiful dance-like music which is perfectly characteristic of Beethoven. Another series of fortissimo chords is struck, ushering in a short, delicate pianissimo section, and the movement seems to die away, but then unexpectantly segues into the Prestissimo coda, a wondrous section that plays with the various themes of the movement and more before ending in a triumphant rush of sound. (Source: https://musescore.com/classicman)