Beethoven’s love of the countryside pleasantly pours out of his Symphony No

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The function of this bar is evidently to leave exposed for longer the delightful chord over which the lively melody flutters. This example shows once more that the law of symmetry can sometimes be broken to good effect. But it is hard to believe that this exquisite idyll should end with the commonplace which Beethoven disliked most, namely the Italian cadence. At the moment when the instrumental dialogue of the two small orchestras of wind and strings is at its most enchanting, the composer, as though suddenly obliged to stop, makes the violins play tremolo the four notes G, F, A, B flat (sixth, dominant, leading note, tonic), repeat them several times in a hurry, exactly as when the Italians sing , and then come to an abrupt halt. I have never been able to make sense of this musical joke.

26/09/2012 · The Author

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We came to look at the house in the winter. We parked the car outside Arthur Newbery Park and walked up Lower Armour Road. We got to the corner and saw the house, and that was it. The thing that impressed us most about the house was the shutters. These are wooden shutters that are built into the window frame as a integral part of the window. The shutters are of a sash style, the same as the windows. We have seen a few houses in and around Reading that include shutters of the same style. There is one in Cane End and another in Alexandra Road. There may be many others for all we know. But we love our shutters and windows. (And incidentally hate double glazing salesmen!). Lucy was wearing her blue fake fur coat because it was very cold. Mrs Maurice called her a bright little button.

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Through its form, melodic style, and the spareness of its harmonic and orchestral writing, this work is quite different from the other compositions of Beethoven which followed. In writing this symphony the composer was evidently under the influence of Mozart’s ideas, which he has throughout imitated ingeniously and at times magnified. But in the first and second movements one can notice from time to time certain rhythmic patterns which the author of has admittedly used, but very rarely and in a much less striking way. The first has a six bar theme, which though not very distinctive in itself, acquires interest subsequently through the skilful way in which it is treated. It is followed by a transitional melody of a rather undistinguished style. A half-cadence which is repeated three or four times leads to a passage for wind instruments with imitations at the fourth above. It is all the more surprising to find this here, as it was often used before in several overtures to French operas.

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The consists almost entirely of phrases in beats that are forced to fit into the framework of bars in time. Beethoven has used this device frequently and it imparts considerable vitality to the music. Melodic endings become as a result more incisive and unexpected; in any case, these cross-rhythms have in themselves real charm, though it is difficult to explain why. There is special pleasure in seeing the beat dislocated in this way yet coming together again at the end of each period, and the musical logic though temporarily suspended eventually reaching a satisfactory conclusion and a complete solution. The melody of the , played by the wind section, has exquisite freshness. The tempo is slower than that of the rest of the , and its simplicity gains extra elegance from the teasing little phrases delightfully tossed by the violins over the harmonic texture. The finale is joyful and alert and restricts itself to normal rhythmic forms. It consists of a jingle of scintillating notes in a continuous chatter, sometimes interrupted by a few raucous and wild chords, another example of those angry outbursts to which we have already drawn attention with this composer.

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When looking back on my early piano lessons, I rekindle a love affair with "Fur Elise" that sealed my engagement to the piano and kept it brimming with passion.