The composer uses imitation and sequences to expand the theme. The theme migrates from one section of the orchestra to another, shifts to different pitch centers, and sounds at different dynamic levels. Late in that movement, a brief oboe solo gives a sadness contrast. The second movement is “Andante con moto”. This movement is more lyrical.
There are also broken chord accompaniments, and a falling motif in bar 1 which help convey the mood. Also the aforementioned rubato is used, towards the end of the B section and in the codetta. Chopin also uses virtuosic display in bars 79-80, bar 17 and bar 4 to make the piece more ornamented and impressive. Ranges of dynamics are used, particularly in bar 35, and bars 27-28. Sostenuto and sotto voce are also used to convey the poetic mood.
The first section was Franz Schubert’s Symphony No. 8 B Minor, “unfinished,” D. 759. The instruments used were fifteen violins, six violas, five cellos, three bass, two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, and a harp. The first movement is Allegro Moderato in B minor. The movement opens with a dark melody in the bass, followed by a soft flowing melody.
In both pieces the orchestral horns only use the open notes. But the solo horn in the Horn Concerto No.4 uses more developed techniques such as handstopping, to showcase the virtuosticity of Leutgeb, and the advanced techniques developed on the horn. In both the Mozart and Handel pieces crooked horns are used, Mozart’s in Eb and Handel’s in D. The orchestral horns in Mozart’s Horn Concerto No.4 are only used at cadence points to add to the harmony, for example in bars 80-84. Neither pieces have a basso continuo part, they use the cello and bass instead. In both
Wolfgang Amadeus Mozart's Quintet for Clarinet and Strings was written in 1789 for the clarinet player Anton Stadler. That is why this quintet is sometimes referred to Stadler’s Quintet. The instruments it was written for were one clarinet and a string quartet which consists of two violins, a viola and a cello. The piece includes 4 movements and movement 4 consists of 5 variations and the allegretto con variationi. In each of these variations Mozart had used themes, compositional devices and classical features to unite the piece.
Stravinsky has re-written this music for woodwind with many contrapuntal counter melodies. In bar 11, the horn part could be described as ‘sighing’, and in bar 15, the bassoon has glissandi written in which are very unusual timbres, especially considering this music was once for solo keyboard. The final four bars before variation one are exactly as Monza wrote them, only re-arranged for wind. Variation 1 starts with the first horn
He also uses a lot of melody dominated homophony in this piece, including at bars 12 to 15 where the violin has the melody and is accompanied by the woodwind. At this point the writing for the violin is very typically virtuosic. Another feature of this piece which is typical of the Classical style is the fact that it is in sonata form with a slow introduction (bars 1-17), an exposition (bars 18-111), a development section (bars 112-153), a recapitulation (bars 154-232) and a coda (bars 233-end). The introduction begins in the tonic key (E flat) but at bar 10 changes to the tonic minor (E flat minor). Within the exposition there are 2 subjects and a transition stage.
Bourrée Johann Sebastian Bach Bourree was written by J.S. Bach who was born on 21st March 1685 and died on 28 July 1750 which was when the Baroque period ended and the Classical period started. Bach was a German composer, organist, harpsichordist, violist, and violinist who wrote pieces for orchestras, soloists and choirs. He is one of the most famous composers in history and wrote many famous pieces such as Toccata and Fugue in D minor for Organ and the Brandenburg Concertos. The piece Bourree is a movement from the Suite in E minor originally written for Lute which is one of seven suites.
Later, the strings came in as an accompanying section along with the guitar playing chords. After the English horn finished the melodic solo, Mr. Williams played the melodic line, which is almost identical to that of the English horn. Mr. Williams’s solo was very melancholic, yet uplifting. Both the soloist and the orchestra were very sensitive to harmonic changes and drama during the movement. The cadenza was very impressive musically and technically.
After the second theme is introduced, Beethoven develops the theme in a Cadenza-like style. This could be one reason why theorists associate the movement with a fantasy. The flashy passages go straight into a development section, which also uses an unusual development method that we have come accustomed to hearing in Beethoven’s sonatas. This section is based on the first theme of the piece. The rhythmical pattern of the theme does not change throughout the whole development.