For music analysts and performers alike, Beethoven's Tempest sonata (1802) represents one of the most challenging pieces of the classical and early romantic piano repertoire. This book is a collection of eleven essays, each dealing with this sonata from a different analytical perspective and investigating the possible connections between music analysis and the practice of performance. Under the editorship of Pieter Berge, Jeroen D'hoe and William E. Caplin, the book presents essays by Scott Burnham (hermeneutics), Poundie Burstein (Schenkerian approach), Kenneth Hamilton (history of performance), Robert Hatten (semiotics), James Hepokoski (Sonata Theory), William Kinderman (source studies), William Rothstein (tempo, rhythm, and meter), Douglas Seaton (narratology), Steven Vande Moortele (20th-century Formenlehre) and the editors themselves (motivic analysis and form-functional approach respectively).

Piano Sonata No.17, Op.31 No.2 by Ludwig van Beethoven. This sonata consists of 3 movements: I. Largo - Allegro II. Adagio III. Allegretto

This book contains five graphic analyses of the opening movement of Beethoven's sonata Op. 31/2. The analyses are based on essays published in Beethoven's Tempest Sonata: Perspectives on Analysis and Performance, edited by Pieter Berge, William E. Caplin, and Jeroen D'hoe (Leuven, 2009). While the earlier collection was conceived for an academic readership, the present volume, by contrast, is intended primarily for practical musicians. The musical score itself accordingly serves as the point of departure, with analytical remarks introduced at the moment at which the relevant music appears. In so doing, this book aims to offer performers analytical insights within the familiar context of sitting at the piano, and following the chronology of the musical process itself. Five different analytical perspectives are presented: motivic (Pieter Berge and Jeroen D'hoe); Schenkerian (Poundie Burstein); form-functional (William E. Caplin); "sonata-theory" (James Hepokoski); and metrical (William Rothstein). This book contains five graphic analyses of the opening movement of Beethoven's sonata Op. 31/2. The analyses are based on essays published in Beethoven's Tempest Sonata: Perspectives on Analysis and Performance, edited by Pieter Berge, William E. Caplin, and Jeroen D'hoe (Leuven, 2009). While the earlier collection was conceived primarily for an academic readership, the present volume is also intended for practical musicians. The musical score itself accordingly serves as the point of departure, with analytical remarks introduced at the moment at which the relevant music appears. In so doing, this book aims to offer performers analytical insights within the familiar context of sitting at the piano, and following the chronology of the musical process itself. Five different analytical perspectives are presented: motivic (Pieter Berge and Jeroen D'hoe); Schenkerian (Poundie Burstein); form-functional (William E. Caplin); "sonata-theory" (James Hepokoski); and metrical (William Rothstein).

Even in Beethoven's day the 'Moonlight' Sonata was a popular favourite. This 1999 book provides an accessible introduction to the Sonatas Opp. 27 and 31 (including The 'Moonlight' and 'The Tempest'), aimed at pianists, students, and music lovers. It begins with the works' historical background - the emergence of a 'piano culture' at the end of the eighteenth century, Beethoven's aristocratic milieu in Vienna, and his oft-quoted intention to follow a new compositional path. An account of the sonatas' genesis is followed by a discussion of their reception history, including a survey of changing performing styles since the mid-nineteenth century. The concept of the Sonata quasi una Fantasia is examined in relation to the cult of artistic sensibility in early-nineteenth-century Vienna. The study concludes with a critical introduction to each sonata.

Re-engraved, corrected editions by Artur Schnabel, with Schnabel's notes and comments in five languages. Volume One contains Sonatas One through Seventeen and Volume Two contains Sonatas Eighteen through Thirty-Two.

Sonata no. 3 in C major is one of the first three Beethoven's sonatas (opus 2) written in 1795 and dedicated to Joseph Haydn. This UTEXT edition is based on early original editions, which Beethoven personally supervised. The fingerings are provided by the editor.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis – both in terms of how Roman numerals are deployed and how musical processes are described in words.

Acclaimed pianist Robert Taub offers the insights of a passionate musician who performs all 32 of Beethoven's well-loved piano sonatas in concert worldwide bringing a fresh perspective on Beethoven as the ÊNew York TimesÊ put it. In this book he shares his intimate understanding of these works with listeners and players alike.