Shania Twain - Party For Two (Green)
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In the "Moonlight" sonata for fp. (op. 27 No. 2) for the first time a unity of through action was achieved (from the mournful lyric.monologue at the beginning of the cycle to the fiery dramatic final allegro). In the 3rd, “Heroic” symphony (1802-04), all parts, while maintaining independence, are thematically connected with each other, and from the grand sonata allegro, which opens the cycle, there is a continuous line of development to the monumental ending. The most perfect ideological and architectonic. unity is also inherent in sonatas for fp. op. 53 and op. 57 (Aurora, Appassionata), as well as quartets op. 59 (1805-06). In the 5th symphony, the unity of the whole is cemented by the leitmotif of “fate”. This symphony does not have a program subtitle, but it can be fully attributed to the words of A. N. Serov that B. created his symphonies “for a pre-considered plot”. Intense dramatist. development characterized by higher creativity. B.'s achievement is the 9th symphony. The theme of her final choir, “To Joy,”which summarizes the concept of the entire work, is gradually being prepared, starting from the first part, a whole series of stages passes. L. Beethoven. Sketch of the ode “To Joy” for the finale of the 9th symphony. Autograph. An important role in the formation of B.'s style was played by his work on mastering the technique of variation and improving the variational form. In their first variation cycles, written on the themes of popular bunks. melodies and opera arias, B. still follows the creative.