Beethoven Eroica Variations & Fugue Op. 35 貝多芬 英雄 變奏曲 作品35 ベートーヴェン エロイカ Score Sheet 譜 谱 楽譜付き 【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Variations and Fugue for Piano in E♭ major, Op. 35
Eroica Variations
貝多芬 英雄 變奏 與 賦格 作品35 降E大調
贝多芬 英雄 变奏 与 赋格 作品35 降E大调
Beethoven Variaciones Heroica Las Variaciones y fuga para piano en mi bemol mayor, Op. 35
ベートーヴェン エロイカ 変奏曲
ピアノ 鋼琴 钢琴 Piano
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Beethoven #Variations #eroica
00:00 Introduzione Allegro vivace
00:39 A Due
01:21 A Tre
02:01 A Quattro
03:12 Var 01
03:46 Var 02
04:34 Var 03
05:10 Var 04
05:44 Var 05
06:30 Var 06
07:03 Var 07
07:38 Var 08
08:23 Var 09
09:05 Var 10
09:44 Var 11
10:31 Var 12
11:06 Var 13
11:46 Var 14
13:05 Var 15
18:21 Finale Alla Fugue Allegro con brio
The Variations and Fugue for Piano in E♭ major, Op. 35 are a set of fifteen variations for solo piano composed by Ludwig van Beethoven in 1802. They are commonly referred to as the Eroica Variations because a different set of variations on the same theme were used as the finale of his Eroica composed the following year.
Musicologists Leon Plantinga and Alexander Ringer claim that the inspiration for the Eroica theme may have come from Classical era composer Muzio Clementi. Plantinga theorizes that a source may be Clementi's Piano Sonata in F minor, Op. 13, No. 6 (composed in 1784), where the first seven or eight notes of the Eroica theme can be matched, with a simpler rhythm, with the beginning of the third movement (in a minor key), and later to the melody in a major key (the Eroica theme is in a major key, although there are variations in minor keys).[2] Ringer points to the first movement of the Piano Sonata in G minor, Op. 7, No. 3 (composed in 1782) as a possible source, where the melody (in a minor key) and rhythm closely match the first eight bars of the Eroica theme. (A major version also exists in the movement, matching very closely the melody in the major key from the F minor, Op. 13, No. 6 sonata).
The theme was a favourite of Beethoven's. He had used it in the finale of the ballet music he composed for The Creatures of Prometheus (1801), as well as for the seventh of his 12 Contredanses, WoO 14 (1800-02), before being the subject of the variations of this work and of the later symphony.