![]() 125: D → B ♭ (lowered submediant) – penultimate variation → G (subdominant) → final variationģrd movement: Scherzo Synopsis of form 127: A ♭ → E (lowered submediant) – penultimate variation → D ♭ ( subdominant) → final variation Beethoven based this tonal progression on the finale of the Ninth Symphony, where the orchestral double fugue episode in B ♭ is followed by the "grand" variation for full orchestra and choir in D major, followed by the " Seid umschlungen" episode in G major, which moves into the choral double fugue in the tonic D major. The penultimate variation recapitulates the theme after a contrasting section in the submediant, while the final variation restores the tonic and basic thematic material after an episode in the subdominant. The recapitulatory sixth variation returns to 12Ĩ, presents only half of the theme and connects directly to the coda.It begins in D ♭ major and transitions to the parallel C ♯ minor. ![]()
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