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Romeo And Julie Opus 31

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Last Sonata of the series opus 31, this was composed in 1802 and published by Naegeli, Zürich in 1804 with the opus number 33. It is later, when it was published by Cappi in Vienna, 1805, included in the series opus 31. All three of the Sonatas opus 31 are dedicated to the Countess of Browne.

After the tumultuous, "Tempest" opus 31 n.2, this Sonata gets back to the spirit of the second number of the same opus and even to the joyful amiability of the "Pastorale". Some commentators even thought about naming it (again ?) "Pastorale". Yet another title stood with it: "Wachtelschlag-Sonate" ("[Sonata of the] call of the quail").

Fortuitously, Beethoven seems to allude to the particular call of this bird with a typical melodic and rhythmical shape. …show more content…

I. Allegro
The Sonata does not start "straight". An ambiguous chord and a motivic cell which is only the first part of the full theme are displayed and repeated. This "question mark" is followed by a series of chords moving chromatically at the bass and slowing down to a stop on the sixth-fourth chord of the tonic. Finally a real full harmonic cadenza affirms the key of E-flat major but immediately it runs to another exposition of the "question mark" entrance one octave higher, with again the same slowing wodn harmonic progression, this time spread into a larger range.

Finally both the tempo and the harmony are set and the full theme is exposed on bar 18. Large intervals and, in the repetition, the first note being replaced by a trill indicate a clear reference to bird song.

The lyrical second theme keeps this light and slightly parodic aspect. The development takes on with the first theme encompassing several keys. An ornamental re-exposition brings the joyful and strong Coda.

II. Scherzo: Allegretto …show more content…

It was drafted in 1803 and finished in 1804. Beethoven introduced it to the publishers Breitkopf und Hartel, who rejected it, the Sonata was published in 1805 in Vienna.

It was planned in three distinct movements with one Andante with variations in the middle. This was later dropped by the composer who published this Andante separately: Andante in F major (WoO 57). Instead he composed an Introduction to the final Rondo.

Being composed simultaneously with the first version of Fidelio, the Sonata is a clear succession of the last two numbers of opus 31. It displays clearly the so-called second style of Beethoven. Extensive and audacious development sections with a very brilliant and virtuoso keyboard technique.

Together with the name of the dedicatee, the Sonata is also known, specially in French speaking countries, under the title "Aurore" (dawn). The origins of this title is obscure, probably due to some other publisher. Several explications for this title was given, none very convincing. For example: "a dawn of an ideal then unknown in the music" (Claude

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