Is Opus 111 the sonata in C with the variation that swings? I would love
to be able to listen to that section with 19th century ears; as it is, it
just sounds like he's doing a jazz parody.

I was thinking recently about other instances of this, where a composer
uses some effect, which then becomes common later in history and acquires
connotations he had no intention of.

The other example besides the Beethoven that springs to mind is the use of
wordless voices.  I was listening to a Milhaud piece, I think 'La creation
du monde', and the voices totally threw me off; I thought I had suddenly
been transported to a Disney movie.  Maybe it sounded corny back when
Milhaud wrote it too, but I imagine the effect wasn't as off-putting.

I know that I had a third example, but I can't remember it right now.
Has anyone else had similar experiences?

Dan Schmidt -> [log in to unmask], [log in to unmask]