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Earliest usage
editDoes anyone know the earliest piece in the standard classical repetoire to use the octave glissando? The earliest one I've ever heard is in the Beethoven First Concerto, although of course I don't have anything near an encyclopediac knowledge of the piano repetoire. Thanks. Lbark 05:30, 27 August 2007 (UTC)
Waldstein Sonata (Beethoven)
editI have changed "3rd movement" to "final movement", because this is, in fact a 2-movement sonata. The slow, middle section is NOT a movement, but an introduction to the second (final) movement. Prof.rick (talk) 19:55, 10 August 2008 (UTC)
Execution
editA little rewriting seemed necessary here. First, maintaining the distance of the octave between fingers 1 and 5 is not a technical problem for experienced pianists. Second, octave glissandos are not avoided because of their difficulty, but because of the pain they can cause to the tender flesh of finger 5. Third, I don't think any composers uses octave glissandos (or any other technical means) "to make the music more difficult". Composers are rarely interested in making their music more difficult, but in conveying their musical concepts. While octave glissandos may create an impressive effect, they have been used with a wide variety of musical intentions. Prof.rick (talk) 20:21, 10 August 2008 (UTC)
- You are wrong. Pieces are often composed as difficult as possible. Look at pieces of Liszt. Some of them aren't melodious but to show off.--77.0.105.112 (talk) 00:30, 9 June 2013 (UTC)
- You say "Composers are rarely interested in making their music more difficult, but in conveying their musical concepts" as if conveying musical concepts and making music more difficult were antonymous. It's a false dichotomy. — Preceding unsigned comment added by 89.3.37.97 (talk) 05:49, 3 September 2013 (UTC)