Variations on a Theme by Beethoven, Op. 35

Par BEETHOVEN LUDWIG VAN. Like the “Eroica Variations” op. 35, the Variations op. 34, were composed in 1802 on an original theme. The “new fashion” Beethoven declared for both works to his publisher becomes apparent in opus 34 through the constant change of keys; from one variation to the next, new tone colours and moods continue to unfold, spanning the pastoral and the funereal, while the melody of the theme remains largely unaltered. For the first time, the Variations op. 34, are now available from Henle in a standalone edition. The musical text of the Urtext edition, with extensive foreword and commentary, was prepared on the basis of the later Critical Apparatus of the BeethovenComplete Edition. Here, too, the fingering comes from the esteemed hands of Ian Fountain. / Loy, Felix / Répertoire / Piano

10 Selections from Sonatas Sonatinas Variations and more-10 pieces at the early advanced level including: Andante in F Major 'Andante Favori ' WoO 57 ' Bagatelle in C Major Op. 33 No. 5 ' Bagatelle in B minor Op. 126 No. 4 ' Fantasie in G minor Op. 77 ' Polonaise in C Major Op. 89 ' Rondo a Capriccio in Hungarian Style 'Rage Over a Lost Penny ' Op. 129 ' Sonata No. 14 in C-sharp minor 'Moonlight ' Op. 27 No. 2 ' Sonatina in F minor WoO 47 No. 2 ' 6 Variations on an Original Theme Op. 34 ' 9 Variations on a March by Dressler WoO 63.

Short Works and Selected Sonatas. Par BEETHOVEN LUDWIG VAN. This comprehensive volume contains 134 pieces from Early Intermediate to Early Advanced level, including Beethoven's complete bagatelles, various dances, sonatinas, selected variation sets, and some of his most popular sonatas. / Classique / Recueil / Piano

Par . Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composers ? J. S. Bach, Beethoven, Brahms, Mendelssohn, Mozart, Rimsky-Korsakov, Rachmaninoff, Tchaikovsky, and others ? are represented by several pieces each, some newly adapted for the piano. Composers and works not usually featured in beginner\'s books include pieces by Borodin, Gluck, Rameau, and Tallis. Well-known classics include Bach\'s Brandenburg Concerto No. 3, Debussy\'s Claire de Lune, Moussorgsky\'s Pictures at an Exhibition, Satie\'s Gymnopedie No. 1, Schumann\'s Child Falling Asleep, and \'Spring\' from Vivaldi\'s Four Seasons. Several orchestral pieces have been newly adapted for the piano, including \'Dance of the Swan\' from Swan Lake, \'Elephant\' from Carnival of the Animals, \'Largo\' from Xerxes, and \'Waltz of the Flowers\' from The Nutcracker. / Date parution : 2022-11-12/ Recueil / Piano

2nd Movement. Par BEETHOVEN LUDWIG VAN / MEYER RICHARD (Arr.) . This theme and variations from Beethoven's Seventh Symphony is one of the most famous slow movements in the entire symphonic repertoire. Because of its somber minor key and quiet rhythmic pulse, it has been likened to a procession through the catacombs. Your students will love the wide variety of emotions included here in Richard Meyer's arrangement. Every section plays an integral role in the slow and mysterious unfolding of Beethoven's masterpiece. Percussion parts for four players have been tastefully added to the original. / Date parution : 2022-10-12/ Répertoire / Orchestre

Theme and six variations on Beethoven's Ode to Joy in the style of: Bach Mozart Mendelssohn Dvorak Wagner and Scott Joplin.Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

28 partitions pour piano des thèmes de Ludwig Van Beethoven, séléctionés parmi ses symphonies et concertos. Arrangements pour les niveaux débutants et intermédiaire. / Piano / Partition

Trio in C major op. 87 - Variations in C major WoO 28-Both of these works for two oboes and cor anglais which Beethoven composed in the 1790s belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired bythe prevailing popularity of this delicate combination of instruments.Likewise with the Variations WoO 28 on the famous theme 'La ci darem la mano' by Mozart he made a contribution of his own to the arrangements ofoperatic melodies for wind ensembles that were so popular at the time.This Urtext edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research onBeethoven.

Both of these works for two oboes and cor anglais which Beethoven composed in the 1790s belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired bythe prevailing popularity of this delicate combination of instruments.Likewise with the Variations WoO 28 on the famous theme 'La ci darem la mano' by Mozart he made a contribution of his own to the arrangements ofoperatic melodies for wind ensembles that were so popular at the time.This Urtext edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research onBeethoven.

This work for orchestra was commissioned by Arktisk Filharmoni and was premiered at the Stormen Cultural Centre in Bodø in February 2020. The composer writes ''A Walk to Beethoven' is a walk to Beethoven’s Symphony no. 7. It is the main theme of the second movement that you can discern in my piece. I chose that theme partly because I just love it partly because it has within itself a wandering pace. The work consists of 14 small parts (played without breaks). I do not regard it as 14 variations: it is rather 14 different versions like 14 flowers grown from the same musical seed. Or maybe: like 14 different paths all leading to Beethoven.'This work for orchestra was commissioned by Arktisk Filharmoni and was premiered at the Stormen Cultural Centre in Bodø in February 2020. The composer writes ''A Walk to Beethoven' is a walk to Beethoven’s Symphony no. 7. It is the main theme of the second movement that you can discern in my piece. I chose that theme partly because I just love it partly because it has within itself a wandering pace. The work consists of 14 small parts (played without breaks). I do not regard it as 14 variations: it is rather 14 different versions like 14 flowers grown from the same musical seed. Or maybe: like 14 different paths all leading to Beethoven.'

These variations are based on the concept of Beethoven's 32 variations in C Minor. In Beethoven's work all the variations are eight bars long without any changes in tempi or time signature. Each variation is complete in itself but the variations are carefully grouped and juxtaposed to have a cummalitive effect. His individual variations are always very clearly connected with the original theme both melodically and harmonically. Rather than occupyinghimself solely with decoration of the original melody Beethoven's concern was with piano figuration and technique.In following the principles Beethoven created in this work Elias has attempted to concern himself with the samepreoccupations; by using clealy audible motifs that permit him to concentrate on writing for the instrument and by using short sharply defined phrases (always of eight bars) to build up a larger structure.

Compositeur : Beethoven, Ludwig van
Instrumentation : Violoncello and Piano
Editeur Musicologique : Zimmermann, Ewald
Couverture Reliée
Contenu :
12 Variations on Ein Mädchen oder Weibchen from Mozart's Zauberflöte F major op. 66
12 Variations on a theme from Händel's Oratorio Judas Maccabäus G major WoO 45
7 Variations on Bei Männern, welche Liebe fühlen from Mozart's Zauberflöte E flat major WoO 46

for Intermediate Piano. BACH: Air on the G String - Badinerie, BWV 1067 - Allegro, BWV 1048 - Jesu, Joy of Man's Desiring - Sheep May Safely Graze - Toccata and Fugue, BWV 565 · BEETHOVEN: Theme from Piano Concerto No. 5 (Emperor) - Theme from Symphony No. 3 (Eroica) - Theme from Symphony No. 5 - Theme from Symphony No. 7 - Theme from Symphony No. 9 · BIZET: Habanera from Carmen · BOCCHERINI: Minuet from String Quintet, Op. 11, No. 5 · BORODIN: Nocturne from String Quartet No. 2 · BRAHMS: Hungarian Dance, WoO 1, No. 5 - Lullaby, Op. 49, No. 4 · CLARKE: Trumpet Voluntary · DVORÁK: Theme from Symphony No. 9 (From the New World) · ELGAR: Nimrod from Enigma Variations - Pomp and Circumstance · FAURÉ: Après un rêve, Op. 7, No. 1 - Pavane, Op. 50 · FRANCK: Panis angelicus · GLUCK: Dance of the Blessed Spirits from Orfeo ed Euridice · GOUNOD: Ave Maria adapted from Prelude in C Major, BWV 846 by JS Bach · GREIG: Anitra's Dance from Peer Gynt Suite No. 1 - Morning from Peer Gynt Suite No. 1 - Norwegian Dance, Op. 35, No. 2 · HANDEL: Air from Water Music, HWV 348 - Allegro from Water Music, HWV 349 - Allegro from Water Music, HWV 348 - The Arrival of the Queen of Sheba from Solomon - Bourrée from Flute Sonata, HWV 363b - Hallelujah Chorus from Messiah - Largo from Serses · HAYDN: Theme from String Quartet, Op. 3, No. 5 - Theme from Symphony No. 94, Hob I:94 (Surprise) · LEHAR: Waltz from The Merry Widow · MASSENET: Meditation from Thaïs · MENDELSSOHN: Nocturne from A Midsummer Night's Dream - Wedding March from A Midsummer Night's Dream · MOZART: Ave Verum Corpus - Theme from Clarinet Concerto - Theme from Eine kleine Nachtmusik - Lacrimosa from Requiem - Theme from Piano Concerto No. 21 - Theme from Symphony No. 40 - Theme from Symphony No. 41 · Offenbach: Barcarolle from The Tales of Hoffmann - Can-Can from Orpheus in the Underworld · PACHELBEL: Canon in D · PARRY: Jerusalem · PUCCINI: Musetta's Waltz from La bohème - Un bel dì vedremo from Madame Butterfly - Vissi d'arte from Tosca · RACHMANINOFF: Theme from Piano Concerto No. 2 · RIMSKY-KORSAKOV: Flight of the Bumblebee - Song of India - The Young Prince and the Young Prince from Scheherazade · SAINT-SAËNS: Danse macabre - The Swan from The Carnival of the Animals · SCHUBERT: Ave Maria - Serenade · SOUSA: The Stars and Stripes

In his Kongsgaard Variations (2006) Swedish composer Anders Hillborg takes the Arietta-theme from Beethoven’s last piano-sonata No. 32 in C minor Op. 111 as the basis for an evocative 16-minute string quartet. Beethoven’s sublime music drifts strangely through the centuries and is warped vaporised and refashioned as if in the words of Hillborg the Arietta ‘is dreaming yet another variation on itself’.