2 in A minor from 24 Preludes and Fugues by Dmitri Shostakovich (1950–1951).

The last movement of Béla Bartók's Concerto for Orchestra (1943).

The last movement of the Violin Concerto by Samuel Barber (1939).The last movement of Maurice Ravel's Sonata for Violin and Piano (1923–1927).The end of the opera Wozzeck, Act III Scene 5, by Alban Berg (1914–1924).Trois Mouvements perpétuels, a 1918 piano composition by Francis Poulenc.The second movement of Prokofiev's Piano Concerto No.Mouvement, a 1905 piano composition by Claude Debussy.Bedřich Smetana's Album Leaf No.3 from Six Album Leaves Op.Robert Schumann's Hasche-Mann from Kinderszenen.Johann Strauss II's Perpetuum Mobile: musikalischer Scherz for orchestra.Nikolai Rimsky-Korsakov's Flight of the Bumblebee, an interlude for his opera The Tale of Tsar Saltan.most often performed with a rather insignificant obbligato accompaniment when scored for wind instruments it becomes a virtuoso challenge of circular breathing and double-tonguing. Ottokar Novacek's Perpetuum Mobile, for violin and piano.Felix Mendelssohn's Perpetuum mobile, op.The finale of Carl Maria von Weber's Piano Sonata No.The second of Franz Schubert's Impromptus, D.

Beethoven's 22nd piano sonata, and large segments of the finales of his Tempest and Appassionata sonatas.The finale of Haydn's String Quartet No.'Perpetuum mobile' pieces of both kinds include: Classical Period Such pieces would often be performed as virtuoso encores, in some cases increasing the tempo along the repeats. Perpetuum mobile as a genre of separate musical compositions, was at the height of its popularity by the end of the 19th century. In some cases the repeats of a 'perpetuum mobile' piece are at a different pitch (while a modulation or a chord progression occurs during the repeatable part): some of the riddle canons of Bach's Das Musikalische Opfer are examples of this particular kind of Perpetuum Mobile/Canon Perpetuus. Canons are often intended to be performed in a moto perpetuo fashion (which, in that case, can be called canon perpetuus).

As separate compositionsĪs a separate piece, a 'Perpetuum Mobile' can be defined as a composition where (a large part of) the piece is intended to be repeated an (often not specified) number of times, without the 'motion' of the melody being halted when a repeat begins. This figuration of rapid triplet quavers (eighth notes) continues for the duration of the movement.įor other examples, see Examples below. A well-known example is the presto finale of Frédéric Chopin's Piano Sonata No.

Perpetuum mobile penguin cafe orchestra