User:Opus33/Sandbox
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Certifying sound and image files for Wikipedia use
For a sound file:
Digital recording, made with an acoustic piano and [[Audacity]] software by
[[User:Opus33|Opus33]]. This music is in the public domain.
The recording is not copyrighted, and it is hereby released by Opus33 into the public domain.
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The following tag, though it is not quite accurate, is included in order to
authorize this file according to the [[Wikipedia:Image copyright tags|Wikipedia rules]]:
{{PD}}
For an image file:
Image file created with [[Sibelius notation program|Sibelius]] software by
[[User:Opus33|Opus33]]. This music is in the public domain.
The image is not copyrighted, and it is hereby released by [[User:Opus33|Opus33]] into the public domain.
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The following is the official Wikipedia [[Wikipedia:Image copyright tags|tag]] for this file:
{{PD}}
Inserting an image with a link to a sound file as its caption
Fill in caption and all three instances of xxx.
[[Image:xxx.png|center|thumb|500 px|CAPTION HERE. [[Media:xxx.ogg|Click to hear piano reduction (xxxK)]]]]
Help readers with ogg files
[[#Footnote|Ogg]] format
==Footnote==
<nowiki>*</nowiki>If your computer cannot play this sound file, you can enable it to do so by downloading and installing free software: [http://www.winamp.com/player/ Winamp], [http://www.zinf.org Zinf], or some other program listed [http://www.vorbis.com/software.psp?pid=2 here].
To do
- Fix up Vibrato. Someone put an old wive's tale about what pitch is heard into Violin. Use article downloaded from JASA.
Learn how to do a table
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Double variation
The double variation is a musical form used in classical music. It is a kind of theme and variations that employs two themes. Another name for this form is alternating variations.
In a double variation set, a first theme (to be called A here) is followed by a second theme (B), followed by a variation on A, then a variation on B, and so on with alternating A and B variations. Often there is a coda at the end.
The double variation is strongly associated with the composer Joseph Haydn, who wrote about two dozen such movements during his career.
The double variation in Haydn
The double variation begins to appear Haydn's work around the late 1770's. Hadyn may have been inspired by an earlier example of Carl Philipp Emanuel Bach, the sixth of that composer's Sonatas with Varied Reprises, (W. 50/6, H. 140), in C minor (1760). Elaine Sisman, probably the leading authority on double variations (see references below), notes "This set of sonatas was advertised in Vienna several times in the period in which Haydn wrote his first [double] variations."
Haydn's double variation eventually evolved to a very particular form, specified as follows.
- The tempo is generally moderate, typically andante.
- The two themes are in the same key, but in opposite modes, with A normally in the minor version of the key, B in the corresponding major.
- The second theme is thematically reminiscent of the first, though not so close as to be an actual variation of it.
- Each theme has the same internal structure, with a first section and a second section. Roughly, this structure is a very brief version of sonata form.
- The first section is shorter, and includes a modulation: to the dominant key if the theme is major, and to the relative major key if the theme is minor.
- The second section is somewhat longer, and includes a brief development section, followed by a recapitulation and sometimes a coda.
- The total number of variations is small, often just two for each theme.
Characterizations of the mood of musical works are necessarily subjective, but many listeners might agree that in Haydn's double variations, the first, minor theme typically sounds tense and melancholic, rather than overtly tragic; and the second, major, theme is relaxed, occasionally "idyllic" (Sisman), even blissful. It is tempting but unprovable to see these movements as self-portraits.
List of works by Haydn written in double variation form
According to Sisman, Haydn wrote 2xx double variation movements. Sisman's list is given below in chronological order.
- (1779) Symphony No. 63 in xxx, "La Roxelane", slow movement. xxx
- (1781) String quartet Opus 33, no. 6, last movement. ABABA form with no coda; A is major, B minor.
- (178xx) String quartet Opus 55, no. 1, "The Razor", first movement. ABABAB form; A is minor, B is major.
- (1789) Piano trio Hob. XV:13 in C minor, first movement. A is in C minor; B in C major; ABABAB form, no coda.
- (1793) Variations for piano in F minor, H. XVII:6. This work, though not particularly famous, is widely described as a masterpiece by commentators; Sisman calls it the "most profound" of all of Haydn's alternating variations. xxx AB etc.
- (1794) Piano trio Hob. XV:19 in G minor, first movement. xxx check dates in Grove. A is in G minor, B in G major. Form is ABAB followed by a second quasi-variation on B in Presto tempo, expanded to full sonata form. For discussion of this expansion, see Charles Rosen, The Classical Style, pp. 83-88.
- (1794/1795) Piano trio Hob. XV:23 in D minor, first movement. A is in D minor, B in D major. ABABAB form with coda.
- (1795) Symphony No. 103, "The Drumroll", second movement. A is in C minor, B in C major. ABABAB form, with a long coda based on B. The themes are said to be based on Croatian folk tunes.
The double variation in Beethoven
Although the double variation is associated strongly with Haydn, Elaine Sisman has pointed out (reference below) that, provided we adopt a somewhat looser definition of the form, Ludwig van Beethoven also emerges as a major composer of double variations. With the partial exception of the Piano Trio in E flat major, Op. 70 no. 2, which Sisman sees as an homage to Haydn, Beethoven's double variations have a rather different character. For instance, sometimes only the A theme is strongly varied, with B remaining relatively constant. Beethoven also likes to interrupt or truncate one or both themes, producing a less regular structure than Haydn's.
Thus flexibly construed, the double variation emerges as the musical form for some of the most famous of Beethoven's works, including the following:
- Third Symphony, last movement
- Fifth Symphony, slow movement
- Seventh Symphony, slow movement
- Ninth Symphony, slow movement
- String Quartet No. 15, Op.132, slow movement, the famous "Heiliger Dankgesang".
As Sisman notes, Beethoven placed his double variations in the same genres as Haydn: the piano trio, the string quartet, and the symphony.
Later double variations
Sources
- Rosen, Charles (1997) The Classical Style, 2nd. ed. New York: Norton. ISBN xxx.
- New Grove
- Sisman, Elaine R. (1990) "Tradition and transformation in the alternating variations of Haydn and Beethoven," Acta Musicologica 62:152-182.
- Sisman, Elaine R. (xxx) her book