beethoven the heroic period l.
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Beethoven: The Heroic Period.

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[across the top]Nb: 1 Cues for the other instruments are to be written into the first violin partSinfonia GrandeIntitulata Bonaparte[1]804 im Augustdel Sigr.Louis van BeethovenGeschriebenauf BonaparteSinfonia 3 Op. 55[at the bottom]Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

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[across the top]Nb: 1 Cues for the other instruments are to be written into the first violin partSinfonia Grande [written by copyist]Intitulata Bonaparte [scratched out violently, made a hole] [1]804 im Augustdel Sigr. [written by copyist]Louis van Beethoven [written by copyist]Geschrieben [in pencil, in Beethoven’s own hand] auf Bonaparte [in pencil, in Beethoven’s own hand] Sinfonia 3 Op. 55[at the bottom]Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

horn entrance at wrong time creating unexpected dissonance immediately before recapitulation
Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation
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“Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”
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Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.
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Closing chords, similar to opening chords of first movement, and chords that end each of the movements.