The allemande was a dance from southern Germany that became quite popular among the common people. It is generally regarded as an antecedent to the Viennese waltz. Beethoven wrote a number of allemandes (known as German Dances) for piano, for orchestra}, and for piano and violin as well. In several instances, he provided alternate versions of the same piece (or collection of pieces).

Beethoven thus had a good deal of experience with this dance form and in related forms: he wrote many so-called contredanses, a dance that had evolved from the allemande in the middle of the eighteenth century. His Twelve Contredanses, WoO 14, are one example of his excursions into this newer. Incidentally, the collection exists in three versions—for orchestra, for piano alone, and for piano, two violins, and bass.

The piece under examination here is for piano alone. It has an elegance in its busy theme, though it also contains hints of that manic energy found in many of the composer's mature works. While the influence of Mozart may be discerned, the piece primarily shows Beethoven growing into his own more muscular and energetic Classicism. The trio section is particularly effective; its lively accenting and robust colorful character make it as attractive as the main material.

A typical performance of this piece lasts about three minutes.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.