Beethoven – Sinfonie Nr. 6 Pastorale (Klavier solo) arr. mit Noten Clavier solo 1. Satz

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Beethoven – Sinfonie Nr. 6 Pastorale Klavier solo mit Noten 2. Satz.

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Beethoven – Sinfonie Nr. 6 Pastorale (Klavier solo) arr. mit Noten Piano sheet music 3. Satz

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Beethoven – Sinfonie Nr. 6 Pastorale (Klavier solo) arr. mit Noten Piano sheet music 4. Satz

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Beethoven – Sinfonie Nr. 6 Pastorale (Klavier solo) arr. mit Noten Piano sheet music 3. Satz

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Die Symphonie Nr. 6 in F-Dur, Op. 68, auch bekannt als Pastoralsymphonie (deutsch: Pastorale), ist eine von Ludwig van Beethoven komponierte und 1808 vollendete Sinfonie. Als eines von Beethovens wenigen Werken mit explizit programmatischem Inhalt wurde die Sinfonie am 22. im Theater an der Wien uraufgeführt Dezember 1808 in einem vierstündigen Konzert.

Beethoven war ein Naturliebhaber, der viel Zeit mit Spaziergängen in der Natur verbrachte. Er verließ Wien häufig, um in ländlichen Gegenden zu arbeiten. Der Komponist sagte, die Sechste Symphonie sei „eher Ausdruck von Gefühlen als Malerei“, was der Titel des ersten Satzes unterstreicht.

Die ersten Skizzen der Pastoral-Symphonie erschienen 1802. Sie wurde gleichzeitig mit Beethovens berühmterer – und feurigerer – Fünfter Symphonie komponiert. Beide Symphonien wurden am 22. Dezember 1808 in einem langen und wenig einstudierten Konzert im Theater an der Wien in Wien uraufgeführt.

Frank A. D’Accone schlug vor, dass Beethoven die programmatischen Ideen (eine Hirtenpfeife, Vogelgesang, fließende Bäche und ein Gewitter) für sein fünfsätziges narratives Layout aus Le Portrait musical de la Nature ou Grande Symphonie entlehnt, das von komponiert wurde, Justin Heinrich Knecht (1752–1817) im Jahr 1784.

Die Symphonie hat fünf statt der vier Sätze, die für Symphonien vor Beethovens Zeit typisch sind. Beethoven schrieb zu Beginn jedes Satzes einen programmatischen Titel:

Der dritte Satz endet mit einer unvollkommenen Kadenz, die direkt in den vierten übergeht. Der vierte Satz geht ohne Pause direkt in den fünften über. Eine Aufführung des Werkes dauert etwa 40 Minuten.

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I. Allegro ma non troppo

Die Symphonie beginnt mit einem ruhigen und fröhlichen Satz, der die Gefühle des Komponisten bei seiner Ankunft im Land darstellt. Der 24-Meter-Satz ist in Sonatenform gehalten, und seine Motive sind umfassend entwickelt. An mehreren Stellen baut Beethoven Orchestertexturen durch mehrfache Wiederholungen sehr kurzer Motive auf. Yvonne Frindle kommentierte, dass ‘die unendliche Wiederholung von Mustern in der Natur durch rhythmische Zellen vermittelt wird, ihre Unermesslichkeit durch anhaltende reine Harmonien.’

II. Andante molto mosso

Der zweite Satz ist ein weiterer Satz in Sonatenform, diesmal in 12/8 und in der Tonart B♭-Dur, der Subdominante der Haupttonart des Werks. Es beginnt damit, dass die Streicher ein Motiv spielen, das fließendes Wasser imitiert. Die Cello-Sektion ist geteilt, wobei nur zwei Spieler die Töne des fließenden Wassers auf gedämpften Instrumenten spielen und die verbleibenden Celli zusammen mit den Kontrabässen hauptsächlich Pizzicato-Töne spielen.

Gegen Ende folgt eine Kadenz für Holzblasinstrumente, die Vogelrufe imitiert. Beethoven identifizierte hilfreicherweise die Vogelarten in der Partitur: Nachtigall (Flöte), Wachtel (Oboe) und Kuckuck (zwei Klarinetten).

III. Allegro

Der dritte Satz ist ein Scherzo im 34-Takt, das ländliche Volkstänze und Gelage darstellt. Es steht in F-Dur und kehrt zur Haupttonart der Symphonie zurück. Der Satz ist eine veränderte Version der üblichen Form für Scherzi, indem das Trio zweimal statt nur einmal erscheint und das dritte Auftreten des Scherzo-Themas abgeschnitten wird. Vielleicht um dieser ziemlich weitläufigen Anordnung Rechnung zu tragen, hat Beethoven die üblichen internen Wiederholungen des Scherzos und des Trios nicht markiert. Theodor Adorno identifiziert dieses Scherzo als Vorbild für die Scherzi von Anton Bruckner.

Die letzte Rückkehr des Themas vermittelt eine aufrührerische Atmosphäre mit einem schnelleren Tempo. Der Satz endet abrupt und leitet ohne Pause in den vierten Satz über.

IV. Allegro

Der vierte Satz, in f-Moll und im 44-Takt, stellt ein heftiges Gewitter mit akribischem Realismus dar, das sich von nur wenigen Regentropfen zu einem großen Höhepunkt mit Donner, Blitz, starken Winden und Regenschauern entwickelt. Der Sturm zieht schließlich vorbei, mit einem gelegentlichen Donnerschlag, der immer noch in der Ferne zu hören ist. Es gibt einen nahtlosen Übergang in den Schlusssatz. Dieser Satz entspricht Mozarts Vorgehensweise in seinem Streichquintett in g-Moll KV 516 von 1787, das ebenfalls einem heiteren Schlusssatz eine lange, emotional stürmische Einleitung voranstellt.

V. Allegretto

Das Finale in F-Dur steht an ⁶₈ Tempo. Der Satz ist in Sonaten-Rondo-Form gehalten, was bedeutet, dass das Hauptthema zu Beginn der Durchführung sowie der Exposition und der Reprise in der Tonika erscheint. Wie viele Finale betont dieser Satz ein symmetrisches achttaktiges Thema, das in diesem Fall das Danklied der Hirten darstellt.

Die Coda beginnt leise und steigert sich allmählich zu einem ekstatischen Höhepunkt für das gesamte Orchester (abzüglich „Sturminstrumente“), wobei die ersten Violinen ein sehr schnelles triolisches Tremolo auf einem hohen F spielen. Es folgt eine inbrünstige Passage, die an Gebet erinnert, gekennzeichnet durch Beethovens Pianissimo, sotto voce; Die meisten Dirigenten verlangsamen das Tempo für diese Passage. Nach einem kurzen Nachglühen endet das Werk mit zwei nachdrücklichen F-Dur-Akkorden.

Source: Wikipedia.

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The Horsewisperer – Montana – Thomas Newman
The Horsewisperer – The Vast Continent – Thomas Newman
The Horsewisperer – Voice Of God – Thomas Newman
The House of the raising Sun – Traditional (Guitarr arr. sheet music)	The House of the raising Sun – Traditional (Guitarr arr. sheet music)
The Hundred Best Short Classics Book 2 Cuthbert Whitemore		The Hundred Best Short Classics Book 2 Cuthbert Whitemore
The Hunger Games – James Newton Howard The Train
The Immigrant – Love theme (The Godfather OST) Nino Rota
The Immigrant (The Godfather OST) Nino Rota
The Imperial March Star Wars Sheet Music For Piano by John Williams		The Imperial March Star Wars Sheet Music For Piano
The Improvisation Of Musical Dialogue A Phenomenology Of Music (Bruce Ellis Benson) Book
The Interpretation Of Piano Music (By Mary Venable) (1913)
The Jazz Piano Book Mark Levine		jazz piano book

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