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950:. Schumann took enormous offense at this remark, especially because Mendelssohn, who was a great friend of Schumann's and whom Schumann somewhat idolised, had died only a year earlier. By some accounts Schumann rushed at Liszt and seized him by the shoulders. Liszt eventually apologised. Schumann did not forget Liszt's offhanded insult, and mentioned it several times in letters to Liszt. Liszt's relationship with the Schumanns was never entirely mended.
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292:-like sections in which the combined forces of the strings are massed against the piano. At a time when chamber music was moving out of the salon and into public concert halls, Schumann reimagined the piano quintet as a musical genre "suspended between private and public spheres" according to Daverio, alternating between "quasi-symphonic and more properly chamber-like elements."
642:. The movement as a whole is cast in an unusual form that partly reflects, but ultimately triumphs over Schumann's frequent difficulties with the conventional sonata form in his larger-scale instrumental movements. The original handling of both form and key contrasts sharply with the largely conventional formal organization of the previous three movements.
919:, which consistently avoids the tonic key until the final fugato; for its innovative key scheme, which combines the restless modulations of a traditional sonata development with the idea of recapitulation in the tonic; and for its successful integration of counterpoint within a non-contrapuntal formal structure.
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More than 200 bars remain to unfold, however, almost entirely in the tonic. During their course, Schumann introduces yet another theme, the syncopated D, gets around to recapitulating the lyrical theme C in the tonic, and develops the music further via two fugato passages, the second unexpectedly and
475:
rounds off the movement. In overall form the opening
Allegro is tightly organised, but a deviation from the Beethovenian model. Tovey writes: "he is writing an altogether new type of sonata-work; a kind that stands to the classical sonata somewhat as a very beautiful and elaborate mosaic stands to a
534:
episode reuses in the piano and violin the descending octaves appearing at the end of the first movement's exposition (see figure). This is one of several moments in the quintet where
Schumann creates unity across movements by subtly reintroducing thematic material. Theme A, the funeral march, is
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in the piano, based on a diminution of the third and fourth bars of the opening theme, which modulates between two vigorous statements of the latter in A-flat and F minor. The figuration is transposed down a tone more or less exactly on its second appearance to lead back to the tonic key. After a
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opens in minims, and characterized by wide, upward-leaping intervals. Tovey writes of the theme that its use of upward leaps is so striking that "it is impossible for the violoncello to throw in a casual leap of an octave in minims without implying the first theme". The contrasting second theme,
251:. Clara pronounced the work "splendid, full of vigor and freshness." She often performed the quintet throughout her life. A notable performance came in 1852, when Schumann asked that the younger pianist Julius Tausch replace Clara in the quintet, explaining that "a man understands that better."
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Schumann's pairing the piano with an ordinary string quartet reflected the changing technical capabilities of the piano and the cultural importance of the quartet. By 1842, the string quartet had come to be regarded as the most significant and prestigious of the chamber music ensembles, while
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at all, with the exception of an early piano quartet composed in 1829. Following his marriage to Clara in 1840, Schumann turned to the composition of songs, chamber music and orchestral works. During his year-long concentration in 1842 upon chamber music he executed the three string quartets,
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in E-flat major, a work
Schumann had studied and performed intensively over several months in 1828-1829 and which he greatly admired, describing it as Schubert's "immortal trio." Both works are in the key of E-flat, feature a funeral march in the second movement, and conclude with finales
227:
Schumann had begun his career primarily as a composer for the keyboard; after his detour into writing for string quartet, according to Joan
Chisell, the "reunion with the piano" which the piano quintet provoked gave "his creative imagination ... a new lease on life."
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and relative stability of the rest. Since
Mendelssohn mentioned that this section wasn't "lively" enough, Schumann rewrote it with a flurry of sixteenth notes making it very demanding for the strings, particularly the cello. After the third and final appearance of the
441:. This movement exposes much material which reappears later in the work. It sets in contrast exuberant material reflecting Schumann's brilliant, wild side, as described by Schumann in the character of Florestan, with slower, 'Eusebian' sections of great passion.
287:
had increased its power and dynamic range. Bringing the piano and string quartet together, Schumann's quintet exploits fully the expressive capacity of these forces in combination, alternating conversational passages between the five instruments with
935:, reworked from an earlier sonata for two pianos (itself a reworking of an earlier string quintet) at the urging of Clara Schumann, was one of a number of later piano quintets that show Schumann's influence and adopt his choice of instrumentation.
163:
was composed in 1842 and received its first public performance the following year. Noted for its "extroverted, exuberant" character, Schumann's piano quintet is considered one of his finest compositions and a major work of nineteenth-century
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455:, is reached after a transitional section marked by glances at remoter flat keys. It is presented as a duet between cello and viola, and its "meltingly romantic" character is typical of Schumann's ardent inspiration in this quintet.
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stepped in, sight-reading the "fiendish" piano part. Mendelssohn's suggestions to
Schumann after this performance led to revisions to the inner movements, including the addition to the third movement of a second trio.
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Tovey remarks the formal influence which
Beethoven exerted over the quintet. He argues that the final movement's lengthy coda is a typically Beethovenian device, and likens the quintet in this respect to the
927:
Schumann's piano quintet was widely acclaimed and much imitated. Its success firmly established the piano quintet as a significant, and quintessentially
Romantic, chamber music genre. The
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to G-sharp minor to begin what is essentially a recapitulation in m. 136, with B returning in E-flat to finally establish the true tonic in m. 178, very late in a lengthy movement.
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Schumann composed his piano quintet in just a few weeks in
September and October 1842, in the course of his so-called Year of Chamber Music. Before 1842 Schumann had completed no
500:, carried by the piano with string accompaniment, which is a transformation of the principal theme disguised by changes in rhythm and tempo. The whole forms a seven-part
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203:
Clara
Schumann (nĂŠe Wieck) in 1838. Robert Schumann dedicated the quintet to Clara, and she performed the piano part in the work's first public performance in 1843.
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942:
heard the piece performed at Schumann's home in 1848 and described it as "somewhat too Leipzigerisch," a reference to the conservative music of composers from
878:. The tonic key, however, is almost entirely absent, with the music mostly remaining in G minor/major until the introduction of the lyrical theme C in the
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reminiscent of the previous episode in first violin and cello, while the second appearance of B in F major also is with an enriched piano accompaniment.
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in C minor. It alternates with two contrasting episodes, one a lyrical theme (B) carried by the first violin and cello, the second (C),
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Clara Schumann did play the piano part at the quintet's first public performance, which took place on the 8th January 1843 at the
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impressively incorporating the principal theme of the opening Allegro brillante and combining it with the opening theme A
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string quartets. He writes that the scherzo so much reflects his style that it "might almost have come from Beethoven."
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that was written few weeks later, both displaying the "extroverted, exuberant side of the composer's creative genius".
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The main section of this lively movement is built almost entirely on ascending and descending scales. There are two
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SCHUMANN: Piano Quintet, Op. 44 / BRAHMS: Piano Quartet No. 2 (Curzon, Budapest Quartet) (1951-1952)
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Schumann's Piano Quintet was first published in 1843. It was republished by Breitkopf and Hartel in
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SCHUMANN: Piano Quintet, Op. 44 / BRAHMS: Piano Quartet No. 2 (Curzon, Budapest Quartet) (1951-1952)
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Nelson, J.C. âProgressive Tonality in the Finale of the Piano Quintet, op.44 of Robert Schumannâ.
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The funeral march theme of the second movement is prominently used as the main theme of the film
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982:. It is also featured prominently on the all-classical soundtrack of the noted 1934 horror film
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915:. The movement as a whole can be noted for the rondo-like reappearances of the opening theme A
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based on the scales concludes the movement, slipping in a recall of Trio I in the final bars.
905:. It also, probably deliberately, evokes the climactic contrapuntal finales of works such as
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879:
488:
Comparison of extracts from Movement 1 (A) and Movement 2 (B) of Schumann's piano quintet
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Daverio, John. â'Beautiful and Abstruse Conversations': The Chamber Music of Schumann.â
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Daverio, John. â'Beautiful and Abstruse Conversations': The Chamber Music of Schumann.â
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Op. 41, the piano quintet, Op. 44; the piano quartet, Op. 47; and the
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dramatically resurrecting earlier thematic material, a composition technique called
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for piano trio, Op. 88. Schumann's work in that year was buoyant in character;
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Performance of the Piano Quintet by the Steans Artists of Musicians from Ravinia
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Schumann's Piano Quintet failed to please at least one discriminating listener:
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1942 Performance of the Piano Quintet by the Busch Quartet and Rudolf Serkin
1278:"Schumann, Liszt and the C Major Fantasie, Op. 17: A Declining Relationship"
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176:, the work revolutionized the instrumentation and musical character of the
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1445:: Schumann's autograph manuscript in the Bonn University and State Library
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Wollenberg, Susan. âSchumann's Piano Quintet in E flat: the Bach Legacyâ,
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This coup may have been inspired by a similar confluence of themes in
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The finale begins in G minor, on a C-minor chord, rather than in the
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Daverio has argued that the quintet was influenced by Schubert's
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Berger, Melvin. "Guide to Chamber Music", Dover, 2001, 404-405.
972:'s character Lothos while Buffy kills the vampire portrayed by
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considers the Piano Quintet to be the "creative double" of the
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Schumann: Piano Quintet, finale, piano part, mm.1-4 (Theme A1)
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Westrup, J. âThe Sketch for Schumann's Piano Quintet op.44â,
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The Piano Quartet and Quintet: Style, Structure, and Scoring.
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The Piano Quartet and Quintet: Style, Structure, and Scoring
1185:. Ann Arbor: The University of Michigan Press. p. 140.
1061:. Ann Arbor: The University of Michigan Press. p. 139.
1359:. Ed. Stephen E. Hefling. New York: Schirmer, 1998: 208â41.
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Andante and variations for two pianos, two cellos and horn
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for violin and viola. Trio II, added at the suggestion of
1476:
296:
Influences of Beethoven and Schubert on the piano quintet
187:
The autograph manuscript of the work is preserved in the
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Chisell, Joan. "Robert Schumann" in Alec Robertson, ed.
1432:. Ed. H. HĂźschen and D.-R. Moser. Berlin, 1974: 367â71.
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combined with the opening theme of the first movement,
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The piece has four movements in the standard fast-slow-
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A summary of the main themes and key areas follows:
231:Schumann dedicated the piano quintet to his wife
1715:
1225:. New York: Henry Holt and Company. p. 473.
1018:. Ed. Stephen E. Hefling. 1998, Schirmer, p. 220
1343:Crossing Paths: Schubert, Schumann, and Brahms.
1223:Florestan: The Life and Work of Robert Schumann
239:and her husband Carl. However she fell ill and
1395:The Cambridge Companion to the String Quartet.
1350:Robert Schumann: Herald of a "New Poetic Age."
1144:Crossing Paths: Schubert, Schumann, and Brahms
1032:Robert Schumann: Herald of a "New Poetic Age."
194:
1558:Five Pieces in Folk Style for cello and piano
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1483:June 8, 2010 performance of the Piano Quintet
1263:The Cambridge Companion to the String Quartet
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480:II. In modo d'una marcia. Un poco largamente
367:II. In modo d'una marcia. Un poco largamente
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1166:: CS1 maint: location missing publisher (
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1453:International Music Score Library Project
1379:Clara Schumann: The Artist and the Woman.
530:The transition between funeral march and
492:The main theme (A) of this movement is a
180:and established it as a quintessentially
1110:Clara Schumann: The Artist and the Woman
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702:, first introduced by the viola in 54),
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594:meter and restlessly modulating, mostly
567:. Trio I, in G-flat major, is a lyrical
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410:In modo d'una marcia. Un poco largamente
198:
1681:List of compositions by Robert Schumann
1288:(2). Oxford University Press: 156â165.
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259:Schumann's piano quintet is scored for
189:Universitäts- und Landesbibliothek Bonn
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1485:at the Montreal Chamber Music Festival
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598:tonality are in sharp contrast to the
471:of the main themes a short, energetic
1540:Adagio and Allegro for horn and piano
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1381:Ithaca, NY: Cornell University Press.
1208:
1126:
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16:1842 chamber work by Robert Schumann
1183:Chamber Music: An Essential History
1059:Chamber Music: An Essential History
706:itself is a diminished version of A
13:
1400:Tovey, Sir Donald Francis (1944).
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14:
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1553:Three Romances for oboe and piano
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1427:Convivium musicorum: Festschrift
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535:varied upon its return after the
1724:Chamber music by Robert Schumann
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1357:Nineteenth-Century Chamber Music
1345:Oxford: Oxford University Press.
1016:Nineteenth-Century Chamber Music
929:Piano Quintet in F minor, Op. 34
882:of E major at m. 114. The music
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373:
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1473:Isabella Stewart Gardner Museum
1330:. London: J. M. Dent and Sons.
1318:Robert Schumann's Werke Serie V
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434:The first movement's is marked
1729:Compositions for piano quintet
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1008:
988:. It is used several times in
894:, finally heard in the tonic.
559:Movement 3, piano part, mm.1-6
444:The movement's energetic main
430:Movement 1, piano part, mm.1-8
283:advances in the design of the
1:
1632:for viola, clarinet and piano
1364:Indiana Theory Review, xiii/1
1001:
968:, and is played on violin by
462:consists largely of virtuoso
1739:Compositions in E-flat major
1370:Potter, Tully. Liner notes.
1091:Potter, Tully. Liner notes.
7:
1221:Schauffler, Robert (1945).
841:: E-flat major, fugato on A
730:theme C (accompanied by Bâ˛)
324:
195:Composition and performance
10:
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1402:Essays in Musical Analysis
1146:. Oxford. pp. 13â46.
1034:(1997, Oxford), p. 256â259
954:Use in later art and music
551:III. Scherzo: Molto vivace
379:III. Scherzo: Molto vivace
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1235:Chissell (1979), 159-160.
626:IV. Allegro ma non troppo
517:C (variant of A, F minor)
391:IV. Allegro ma non troppo
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255:Instrumentation and genre
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103:18 January 1843
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1658:Piano Quartet in C minor
1114:Cornell University Press
979:Buffy the Vampire Slayer
728:: E major-G-sharp minor
575:, is a heavily accented
1047:(1963, Penguin), p. 184
923:Reception and influence
1548:for clarinet and piano
1341:Daverio, John (2002).
1326:Chisell, Joan (1979).
1142:Daverio, John (2002).
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343:Emerson String Quartet
204:
1648:Three String Quartets
1420:The Music Review, lii
1377:Reich, Nancy (2001).
1276:Walker, Alan (1979).
1181:Radice, Mark (2012).
1108:Reich, Nancy (2001).
1057:Radice, Mark (2012).
903:E flat quartet op. 12
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558:
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416:Allegro ma non troppo
413:Scherzo: Molto vivace
202:
1449:Piano Quintet, Op.44
1443:Piano Quintet Op. 44
1116:. pp. 115, 231.
992:' 2018 period piece
976:in the 1992 feature
834:C (Bâ) recapitulated
476:landscape-picture."
422:I. Allegro brillante
355:I. Allegro brillante
1581:for viola and piano
1573:Violin Sonata No. 3
1568:Violin Sonata No. 2
1563:Violin Sonata No. 1
1429:Wolfgang Boetticher
1404:. pp. 149â54.
1282:Music & Letters
961:Fanny and Alexander
698:(with an important
539:section with rapid
1630:Märchenerzählungen
866:The main themes, A
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249:Leipzig Gewandhaus
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1734:1842 compositions
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1688:
1411:978-0-19-315161-1
1247:Smallman, Basil.
1192:978-0-472-05165-6
1153:978-0-19-513296-0
1129:, pp. 152â3.
1068:978-0-472-05165-6
948:Felix Mendelssohn
847:Allegro brillante
751:: D-sharp minor A
543:in the piano and
407:Allegro brillante
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241:Felix Mendelssohn
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1612:Piano Trio No. 2
1607:Piano Trio No. 1
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1451:: Scores at the
1422:(1991): 299â305.
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912:Jupiter Symphony
778:: G-flat major A
769:: B-flat minor A
739:: G-sharp minor
716:: B minor-major
685:: B-flat major A
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854:: E-flat major
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789:B recapitulated
787:: E-flat major
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237:Henriette Voigt
214:PhantasiestĂźcke
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168:. Composed for
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1437:External links
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1366:(1992): 41â51.
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1352:(1997, Oxford)
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1112:. Ithaca, NY:
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995:The Favourite
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22:Piano Quintet
20:
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1587:F-A-E Sonata
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1311:Bibliography
1297:. Retrieved
1285:
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974:Paul Reubens
970:Rutger Hauer
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865:
861:m. 402: Coda
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545:counterpoint
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531:
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523:BⲠ(F major)
520:AⲠ(C minor)
497:
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458:The central
457:
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311:
299:
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246:
230:
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218:John Daverio
213:
206:
186:
153:E-flat major
148:
146:
58:E-flat major
41:
940:Franz Liszt
899:Mendelssohn
760:: B major A
676:: D minor A
573:Mendelssohn
526:A (C minor)
514:A (C minor)
511:B (C major)
508:A (C minor)
460:development
319:cyclic form
1718:Categories
1299:2023-06-08
1209:Tovey 1944
1127:Tovey 1944
1002:References
880:remote key
876:exposition
798:: G minor
694:: G major
652:: G minor
618:, a brief
464:figuration
307:fourteenth
114:Gewandhaus
107:1843-01-18
89:Dedication
1471:from the
1266:, p. 324.
1162:cite book
884:modulates
700:motive Bâ˛
467:standard
439:brillante
138:Movements
123:Published
99:Performed
48:, in 1839
1328:Schumann
1251:, p. 53.
541:triplets
341:and the
325:Analysis
290:concerto
182:Romantic
74:Composed
1464:YouTube
1320:(1881).
944:Leipzig
812:theme D
696:theme B
666:theme A
654:theme A
616:scherzo
537:Agitato
532:Agitato
498:Agitato
449:marked
436:Allegro
400:scherzo
269:violins
184:genre.
159:44, by
128: (
116:Leipzig
105: (
79: (
1694:Portal
1479:format
1408:
1334:
1294:734754
1292:
1189:
1150:
1065:
907:Mozart
852:m. 378
839:m. 319
830:m. 274
821:Fugato
817:m. 248
808:m. 224
796:m. 212
785:m. 178
776:m. 172
767:m. 164
758:m. 156
749:m. 148
737:m. 136
726:m. 114
579:whose
275:, and
1641:Other
1599:Trios
1290:JSTOR
714:m. 77
692:m. 43
683:m. 37
674:m. 29
662:m. 21
640:tonic
596:minor
569:canon
565:trios
502:rondo
452:dolce
446:theme
303:ninth
285:piano
277:cello
273:viola
267:(two
261:piano
233:Clara
170:piano
1532:Duos
1406:ISBN
1332:ISBN
1187:ISBN
1168:link
1148:ISBN
1063:ISBN
823:on A
650:m. 1
620:coda
473:coda
305:and
263:and
172:and
147:The
130:1843
126:1843
81:1842
77:1842
65:Opus
1522:by
1477:MP3
1475:in
1462:on
964:by
931:of
909:'s
901:'s
870:, A
279:).
157:Op.
151:in
54:Key
27:by
1720::
1286:60
1284:.
1280:.
1240:^
1201:^
1164:}}
1160:{{
1134:^
1100:^
1077:^
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998:.
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155:,
111::
69:44
1696::
1512:e
1505:t
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892:1
872:2
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800:A
780:2
771:1
762:2
753:1
743:1
741:A
720:1
718:A
710:.
708:2
704:B
687:2
678:1
668:2
656:1
606:8
587:4
141:4
132:)
109:)
83:)
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