Mendelssohn’s Violin Concerto in E minor also has a final movement in E major. If we look at Chopin, however, his first piano concerto, ostensibly in E minor, has 2 of its three movements in E major. 3 has a middle movement in E major, however, its tempo, Largo, prevents it from matching Pauer’s requirement for magnificence and splendor. When we look further however, and start to look at middle movements, then a new world of E major emerges. 46 carries all the power and brilliance Pauer liked. The final movement of his Piano Sonata No. Haydn has many more, including symphonies, string quartets, string trios, piano trios, and piano sonatas, among others. (Nicolaus Esterhazy Sinfonia Michael Halasz, cond.) The Overture to the opera Fidelio, certainly is bright and powerful, although tempered by the dramatic necessity of the opera.īeethoven: Fidelio: Act I: Overture. However, one of those works fulfills Pauer’s description. But here, he disappoints us, only writing 3 pieces in E major. The first composer to whom we might look for this kind of writing is, of course, Beethoven. Pauer’s key characteristics for E major are that it is: “…the brightest and most powerful key, expresses joy, magnificence, splendor, and the highest brilliancy.” For the rest of the major and minor keys, he left us the attributes but not list of pieces. Beethoven Credit: our earlier series on C major and minor, G major and minor, and D major and minor, and A major and minor, we listed Ernst Pauer’s suggestions from 1876 of pieces that fit the particular affect he assigned for a key.
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