Eroica variation
The variation for the piano solo that Ludwig station wagon Beethoven composed 15 variations and fugue strange E major work 35 by the original subject. A person of composition in particular liked the subject of this music, and it is used for four times, and it is 終楽章 of the symphony third [hero] that was misappropriated last. By this, I am known as "an Eroica variation" generally. I was composed in 1802, and it was published in 1803, the following day by ブライトコプフ ウント Teru Hel Corporation. I am presented to curl Aloys phone リヒノフスキー marquis.
Constitution of the music
- Introduction
- After the heavy blow of the tonic chord, I begin with the subject presentation consisting of the unison of the bus. This extremely simple melody is an accompaniment part of the "creation finale of Prometheus" and is treated as the subject shown first in 終楽章 of "the hero". For convenience, I call this "the Eroica subject". Four times of introductions are repeated, and two voices, three voices, four tones and anti-voice part are added each time. I can consider this introduction in itself to be the variation such as the passacaglia.
- The variation subject
- After a long introduction, the variation subject that finally put a melody in the voice part on the Eroica subject is played. It is a melody used at the "creation finale of Prometheus" and calls this "the Prometheus subject" for convenience. Following variation is character variation and the Prometheus subject does not leave a model and is done variation freely, but the Eroica subject shown in an introduction is consistent and has subject of the fugue put last stolen from this Eroica subject. Therefore, this variation has the double subject and can rather consider the Eroica subject the leading role.
- The first variation
- Lively variation with the jazz-like sound that used many chromatic scales.
- The second variation
- The right hand plays intense 三連符, and the left hand repeats the intense top and bottom of the pitch difference.
- The third variation
- The banter-like variation that was based on rhythm called タッタタタッタタ.
- The fourth variation
- The left hand plays an extremely fast passage, and, on top of that, the right hand resists the transformation of the Eroica subject.
- The fifth variation
- The invention of two plain voices.
- The sixth variation
- C minor。 Intense negotiations are seen in the right hand and the left hand.
- The seventh variation
- It is extremely the short pretty canon of the interval.
- The eighth variation
- The Eroica subject is hidden in the unhurried arpeggio of the left hand.
- The ninth variation
- A solid chord is rung repeatedly on 三連符.
- The tenth variation
- The variation that a left palm of the hand beat and a melody jumping around are characterized by.
- The eleventh variation
- Accompaniment is the decoration variation that is over only by the repeated blows of the very simple chord.
- The twelfth variation
- The variation that the right hand and the left hand scatter quickly up and down.
- The thirteenth variation
- Six beats of heavy steps.
- The 14th variation
- Strange E minor。 The variation that is the gloomiest in all songs.
- The 15th variation
- I return to strange E major and regain clean calmness and expanse. I reach the fugue after a phrase in progress of the C minor.
- Fugue
- The fugue which I had stolen from the Eroica subject. It becomes the anti-line fugue in the second exposition.
- Coda
- Because the coder completely possesses the form for two times of subjects, I can consider that this is 第 16. 17th variation substantially. A Prometheus subject first half part is recollected and terminates in the heavy blow of the tonic chord same as the beginning afterwards.
Outside link
- Eroica variation (there is a performance sound source) - International score library projectInner の page. Score PDF is available free.
- Recording by Katherine Chi from the Isabella Stewart Gardner Museum in MP3 format
This article is taken from the Japanese Wikipedia Eroica variation
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