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Mozart’s Piano Concerto No 23 in A major (K. 488) was finished on March 2, 1786, two months prior to the premiere of the opera, Le nozze di Figaro and some three weeks prior to the completion of his next piano concerto.
Mozart has written only six – or even five, the authenticity of some work has been disputed – sonata for piano four hands.
Mozart’s Piano Concerto No. 21 in C major, K. 467, was completed on 9 March 1785, four weeks after the completion of the previous D minor concerto, K. 466. The second movement, Andante, is one of Mozart’s most famous masterpiece.
Ludwig van Beethoven’s Concerto for Violin, Cello, and Piano in C major, Op. 56, more commonly known as the Triple Concerto, was composed in 1803 and later published in 1804 under Breitkopf & Härtel.
Beethoven’s Piano Concerto No 1 was written in 1795, then revised in 1800. The first performance took place on 18 December 1795 in Vienna with Ludwig van Beethoven himself as soloist.
Ludwig van Beethoven’s Concerto for Violin, Cello, and Piano in C major, Op. 56, more commonly known as the Triple Concerto, was composed in 1803 and later published in 1804 under Breitkopf & Härtel.
The Fantasy (Fantasia) for piano, vocal soloists, chorus, and orchestra, Op. 80, usually called the Choral Fantasy, was composed in 1808 by Ludwig van Beethoven. The work is noted as a kind of forerunner to the later Ninth Symphony.
This sonata marks the beginning of what is generally regarded as Ludwig van Beethoven’s final period, where the forms are more complex, ideas more wide-ranging, textures more polyphonic, and the treatment of the themes and motifs even more sophisticated than before.
Dance of the Blessed Spirits is a melody from Orpheus and Eurydice, an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de’ Calzabigi.
Piano Sonata No 7 in D major, Op. 10, No. 3, was dedicated to the Countess Anne Margarete von Browne, and written in 1798 by Ludwig van Beethoven. The Op. 10 sonatas are usually described as angular or experimental, as Beethoven began moving further and further away from his earlier models.