# How do you distinguish between a major and minor work?



## Kieran (Aug 24, 2010)

I don't mean major and minor keys! I'll use an example. Fur Elise is a relatively minor work by Beethoven but the Hammerklavier is a major work. We can see there are bigger themes, the music is longer and a certain seriousness of purpose attends the sonata.

But Mozart's a-minor rondo is a relatively major work and some of his much longer symphonies and sonatas are lesser works.

Are these things measured by quality, wealth of ideas, originality? Is there only a subjective measure, the same as any other measure when it comes to enjoying music?


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## Guest (Jan 11, 2013)

Great question - very thought-provoking. Firstly, I'm not sure that some of Mozart's much longer symphonies and sonatas qualify as "lesser" works. As for the A Minor Rondo, I would have categorized that as a minor, but charming, work. But you may know far more about Mozart than I.

To qualify as a major work two things come into consideration, IMO:

Firstly, it may be 'major' in terms of the individual composers' output and therefore this becomes a contextualized comparative statement of scale (no pun intended) and thematic ideas;
Secondly, it may be 'major' in terms of the genre itself and other works belonging to that genre from other composers - for example, the symphony - as well as those things you mentioned - quality, wealth of ideas, originality - and I would add 'form and scale' (size) to that. 

For me, Mozart's piano concerto No. 9 "Jeunehomme" is a major work in both the genre and the piano literature primarily because of it's structure - the second movement seems to be two movements in one - and its overall shape and complexity. By this I mean its development sections, key relationships and rather 'expansive', somewhat Romantic inclination. Mozart was certainly opening up the concerto with this work, if I can put it that way.

Robert Schumann described Schubert's Symphony No. 9 (Der Grosse) as of "heavenly length", implying a certain grandeur of scale. Yes, it is a major work and Schubert was, of course, a miniaturist in many ways. The Symphony No. 9 is full of repeats and, though the work has several very interesting ideas which are developed, one cannot escape the fact that repeats are an essential part of that "heavenly length". For me, it's a wonderful symphony but Schubert never takes bold steps here.

The 'Hammerklavier' - particularly the last two movements - this is my desert island music. It's a major work (40 mins approx.) and moves beyond the scope of even Beethoven's sonatas before and after that point. LvB pushes tonal boundaries and thematic ideas to their absolute limit in what is, IMO, abstract music which is an exploration of what is possible from the keyboard. So sheer scope, development of ideas, profundity and abstract musical thought render this a monumental work. 

Other people here might share different ideas on the matter.


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## Kieran (Aug 24, 2010)

Thanks countenanceanglaise!

I had a feeling it has something to do with a works relationship with the form. The Hammerklavier - as you say - adding so much and yet still remaining a piano sonata.

The comparison between Mozarts a-minor rondo and his symphs wasn't to compare it with his adult symphs but with some younger ones, which are much longer but less substantial than the rondo.

Cheers!


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## tgtr0660 (Jan 29, 2010)

I would first look at the composer's total output and make a relative assessment of the work in question. In the entire catalogue of Beethoven, Fur Elise is nothing but a little bagatelle, while the Hammerklavier belongs to a body of sonatas that is clear the composer dedicated much time to. Also, of course, magnitude of the work both in length, ideas, etc. Another factor is how important said work has been in music as a whole. Even if it had been Beethoven's last symphony, the Eroica would always have been a major work. And then of course history and the legacy of the past. Previous generations in a way have already decided what is a minor or major work and, though few minor works have been reassessed to become major ones in the eye of the classical music world, even fewer have been turned from major into minor. As with everything with classical music, the past is part of the present.


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