The Classical Style Haydn Mozart, Beethoven. New York: W. W. Norton & Company, 1997. Book. Schauffler, Robert Haven. Beethoven The Man Who Freed Music.
New York: Alfred A. Knopf, 1948. Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: The Viking Press, 1971. Subotnik, Rose Rosengard.
New York, 1988. Steve Boerner. The Mozart Project, Revised December 20, 2000 http://www.Mozartproject.org ? . The Mozart Story, http://www.geocities.com/Athens/Delphi/6014/ Mozart Addicts Home Page http://www.geocities.com/Vienna/Strasse/8417/
4.Tawa, Nicholas. The Coming of Age of American Art Music: New England's Classical Romanticists. Westport, CT: Greenwood P, 1991. 5. William Treat Upton (1967 [reprint]), Anthony Philip Heinrich: A Nineteenth Century Composer in America, New York: AMS Press, pp.
Although Mozart's death in 1791 prevented this, Beethoven went to Vienna in 1792, and he became a pupil of an Australian composer named Joseph Haydn. In Vienna, Beethoven dazzled the aristocracy with his piano improvisations. Meanwhile, he entered into increasingly favorable arrangements with Viennese music publishers. In composition he steered a middle course between the stylistic extravagance of German composer Carl Phillip Emanuel Bach and what the public had perceived as the overrefinement of Mozart. The broadening market for published music, enabled Beethoven to succeed as a freelance composer, a path that Mozart, a decade earlier, had found full of frustration.
New York: Rosen Group, 2006. Print. Zamoyski, Adam. Chopin: A New Biography. Garden City, N. Y.: Doubleday &, 1980.
It interchanges the middle movements; a scherzo precedes the slow movement, which happens to be a funeral march. Chopin’s two great sonatas (No. 2 in b-flat minor and No. 3 in b minor) are quite experimental with the sonata-al... ... middle of paper ... ...e mold of the sonata-allegro form; he is quite progressive with his harmonies, exploring distant keys and incorporating daring chromaticism. This sonata was written by Chopin at the height of his genius.
BEETHOVEN AS I KNEW HIM: Faber and Faber Limited, 1966, 78-9 Scott, Marion M. The Master Musicians Series BEETHOVEN: J.M. DENT & SONS LTD, 1974, 132-34 Suchet, John. The Friendly Guide to Beethoven: Hodder Education, 2006, 224-25
The opening bars of the symphony present the ‘fate motif’ which symbolises ‘fate knocking at your door’; showing Beethovens attitude to his encroaching deafness. He describes his melancholy and anger towards the situation in the statement ‘I would have ended my life’. This is overcome however in a later letter which contained the statement ‘I will seize fate by the throat, it shall certainly not overcome me’. When he wrote his fifth symphony, he was almost completely deaf, so the idea that he is defying his own fate is represented by the completion of this symphony, and his later