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Bagatelle No. 25 in A minor (WoO 59, Bia 515) for solo piano, commonly known as "Für Elise", is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered (by Ludwig Nohl) 40 years after his death, and may be termed either a Bagatelle or an Albumblatt. The identity of "Elise" is unknown; researchers have suggested Therese Malfatti, Elisabeth Röckel, or Elise Barensfeld. The piece can be heard as a five-part rondo, with the form A-B-A-C-A. It is in A minor and in 3/8 time. It begins with the refrain A, a flowing melody in binary form marked Poco moto (literally "a little motion," a tempo indication that does not appear elsewhere in Beethoven's works), with an arpeggiated left hand accompaniment. The unaccompanied oscillation between the dominant E and its chromatic lower neighbor D-sharp that begins the melody has become one of the most recognizable openings in classical music, but it also serves as a main topic of musical discussion. The digression at measure 9 glances at the relative major before returning to the original theme and key, preceded by a prolongation of the dominant, E that extends the opening lower-neighbor oscillation. The pitch outline of these bars, E-F-E-D-C-B, i.e. an upper-neighbor ascent to F5 followed by a descending scale, also forms the basis of the two episodes B and C, thus unifying the piece. The B section that begins in bar 23 is in the submediant, F major. Its theme begins by tracing the outline mentioned above in somewhat elaborated fashion and modulates to the dominant, followed by 32nd-note runs repeating a cadential progression in C major in a codetta-like passage. (The chordal three-note upbeats in the left hand have been anticipated by the transition to this episode in bar 22, a clever unifying touch.) This suggests a rather expansive form, but Beethoven suddenly returns to the dominant of A minor in bar 34, once again lingering on the dominant E and its lower neighbor and leading to an exact repeat of the A section. Although another nominal episode follows (C) at bar 59, it does not leave the tonic and is rather coda-like in feel, unfolding over a dramatic, throbbing tonic pedal in the bass and emphatically cadencing in the home key. Once again, there are unifying relationships with previously heard material. The melody retraces the descending outline alluded to earlier, and the cadence in bars 66-67 is an augmented version of the theme's cadence in bars 7-8. After a glance at a Neapolitan harmony (B-flat major) and a cadence at bar 76 that brings the music to a complete halt for the first and only time, an ascending A minor arpeggio and a chromatic descent over two octaves follows, sort of a cadenza in tempo, leading to a final repetition of the A section. The piece concludes without an added postlude. Source: Wikipedia

The Piano Sonata No. 14 was completed in 1801 and dedicated in 1802 to his pupil Countess Giulietta Guicciardi. The popular name Moonlight Sonata goes back to a critic's remark after Beethoven's death. The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favourite even in his own day. Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work. The first movement, in C♯ minor, is written in modified sonata-allegro form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation", mostly by the left hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or "very quietly", and the loudest it gets is piano or "quietly". The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify". Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance". The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things". In his book Beethoven's pianoforte sonatas the renowned pianist Edwin Fischer suggests that this movement of this sonata is based on Mozart's "Ah Soccorso! Son Tradito" of his opera Don Giovanni, which comes just after the Commendatore’s murder. He claims to have found, in the archives of Wiener Musikverein, a sketch in Beethoven's handwriting of a few lines of Mozart's music (which bears the same characteristic triplet figuration) transposed to C♯ minor, the key of the sonata. "In any case, there is no romantic moon-light in this movement: it is rather a solemn dirge", writes Fischer. Source: Wikipedia

Debussy began composing Suite Bergamasque around 1890, at the age of 28, but significantly revised it just before its 1905 publication. The popularity of the 3rd movement, "Clair de lune", has made it one of the composer's most famous works for piano, as well as one of the most famous musical pieces of all-time. Clair de lune is written in 9/8 meter and marked andante très expressif. Its title, which means "moonlight" in French, is taken from Verlaine's poem "Clair de lune". It is not to be confused with the two settings of the poem composed by Debussy for voice and piano accompaniment. Source: Wikipedia