Vivaldi was progressive musically. He established the concerto form as an instrumental standard, played with the idea that the soloist was at war with the larger orchestra and using the contrasts to dramatic effect, not only between players but in speed and volume levels as well, and he pushed the envelope on violin technique, something in which he probably remained untouched. His usual writing style was antiphony, a simple style, which allowed him to experiment with instrument solos and maintain a light and innocent texture to the music. Vivaldi was one of the rare Italian composers interested in woodwind instruments. He composed several concertos for the bassoon, oboe, recorder and flute, as well as the rarer clarinet.
1) 2) 3) THEME-BUILDING BLOCK THEMATIC DEVELOPMENT-EXPANDING THE THEME MOTIVE-SMALLEST MELODIC UNIT OF A THEME THE CLASSICAL ORCHESTRA 1) ESTABLISHED IT AS WE KNOW IT TODAY 2) BLENDED THE FOUR INSTRUMENTAL FAMILIES A) THE HEART WAS THE STRING CHOIR B) WOODWINDS ASSISTED THE STRINGS C) BRASS SUSTAINED HARMONIES AND ADDED BODY D) PERCUSSION (TIMPANI) SUPPLIED RHYTHMIC LIFE 3) 30-40 PLAYERS 4) VOLUME OF SOUND WAS NOT STRONG 5) LIFE BEGAN TO MOVE TOWARD THE CONCERT HALL (NEAR THE END OF THE PERIOD) with Beethoven 6) GRADUAL CRESCENDOS AND DECRESCENDOS 7) THE PIANO WAS INVENTED DURING THIS
Millisa HendersonMr. Stone Living Music II 12 May 2015 Analysis of Brahms' Piano Concerto No. 2 Movement IV: Allegretto Grazioso Johannes Brahms was one of the greatest piano composers of the Romantic period. The Piano Concerto No. 2 in B-flat major, Op.
In the beginning of the development, it gives you a hint of the first theme, and moves into a more minor sound at around 3:18, taking us off into a random dark sounding harmonic tangent. Soon after, at 4:39, an oboe comes in to save the orchestra with a solo. The oboe plays until the end of the development at 4:53. The recapitulation of
In the bridge, high bowed strings, sometimes using harmonics and tremolo, add a countermelody. Orchestration There are five woodwind players who double up: Clarinet and saxophone Two horns Three trumpets Two trombones Seven violins Four cellos Two double basses Drum kit Percussionists Piano Electric and accoustic guitar Structure The song does not follow a conventional verse-chorus structure, but has several musical ideas and sections that recur. The structure is: Introduction Section A Section B Section B1 Section A 1 Outro [fades
The rain storm brings a bit of chaos and distress to the feeling of the first movement. The quickness in change from one sound to the next is rapid and rough sounding. Around the nine minute mark the song goes back to calmness but that swiftly goes back to the quickened uneasy tone created by the high pitched notes. The second movement is a waltz, beginning with a build-up using harps and other various stringed instruments. The song then turns to a dance rhythm.
The first movement of Beethoven's 1st symphony is in sonata form made up of an exposition including a 1st and 2nd subject, transition and codetta motifs from which will be explored often in unrelated keys within the development section. The development can be seen to be divided into 4sections. The 1st section of the development (bar 110-135) features rapid modulation through a cycle of 5ths. At bar 110 following a descending G7 in the 2nd time bar, the key suddenly moves to an A major chord in its 1st inversion (a tertiary relation to the tonic key of C). The initial melody idea in the development is the dotted quaver-semiquaver motif taken from bar 14-15 of the exposition section.
Give a detailed account of the exposition of the 1st movement of Beethoven’s Symphony no. 1 Beethoven’s first symphony follows the example of Haydn (Beethoven’s mentor, on and off, for around three years from 1792 – 1795) in a number of ways. In particular, it uses a slow introduction to the first movement and an orchestra which resembles that of Haydn’s later symphonies (from around 1792), which includes: • double woodwind • 2 horns • 2 trumpets • 2 timpani tuned to the tonic and dominant notes • the usual Classical string section The first symphony is from bars 13-33 (Allegro con brio), within this Beethoven eventually confirms the tonic key of C major in an understated manner – p dynamics, woodwind and horns have only the tonic chord on the first beat and the melody is played by 1st violins, accompanied by dotted crotchet chords in the rest of the string section. The first subject (1st violins) emphasises the tonic key by means of a strong dominant-tonic (G to C) relationship in the melody in bars 13 – 16. After a two-bar woodwind link, where the key modulates to D minor, the opening melody is repeated a tone higher than original (bars 19 - 23).
Second Essay I went to the concert players name is “Palisades virtuosi”. The concert title name is “Music Born of Adversity.” There are three players. “The Commissioners” by Chamber Music America magazine, Palisades Virtuosi has established an enviable presence in the chamber music world since its inception eleven years ago. The concert was newest and interesting for me because trio is not normal group. I saw lots of piano with strings instruments such as violin, viola and cello.
Gradual changes in dynamics. (Pg. 302 – 303).” Figure 1: a standard set up for a baroque orchestra from “http://dandanmusic.weebly.com” Figure 2: The typical arrangement of the early classical orchestra from “http://dandanmusic.weebly.com” Listening to Bach’s Brandenburg Concerto No. 2, it is as lively a