Mozart’s 40th Symphony in G minor Mozart’s 40th symphony in G minor is Mozart’s penultimate symphony, completed in 1788 and first performed 1789. It is written in sonata form, meaning that there are three main sections to the first movement: the exposition, the development and the recapitulation. The exposition, 100 bars long, gives the composer the opportunity to expose all his material. The first subject of the exposition begins in the tonic of G minor, and modulates to the relative major of Bb in the transition, remaining in this key for the duration of the exposition. The second section of the movement, the development, gives the composer an opportunity to experiment with the material.
In Mozart’s K.333 the cadences are used to reinforce the tonality, such as in bars 9-10 where the cadence is in the tonic key. Dominant pedal notes are also used to add strength to these cadences, for example in the bars 57-58. In Poulenc’s Sonata these perfect cadences are not so clear and there are occasional discords that weaken the strength of the key. An example of this is in bar 4, where a perfect cadence is suggested, however it is interrupted by the horn. These kinds of interruptions would not occur in Mozart’s pieces as they were written in the stricter classical period, whereas
On the repeat, the soloist joins the orchestra.) VOCAL MUSIC OF THE CLASSICAL PERIOD OPERA 1) 2) 3) 4) DRAMA THAT IS SUNG IT COMBINES VOCAL AND INSTRUMENTAL MUSIC WITH PEOTRY AND DRAMA, ACTING AND PANTOMIME, SCENERY AND COSTUMES IT USES A) SOLOISTS B) ENSEMBLES C) CHORUS D) ORCHESTRA E) SOMETIMES DANCING ELEMENTS OF OPERA A) RECITATIVE (EXPLANATIONS NECESSARY TO THE PLOT) B) ARIA (RELEASES THE EMOTIONAL TENSION. THIS IS WHERE THE SINGER SHOWS OFF THEIR VIRTUOSITY C) OVERTURE (USUALLY BEGINS OPERA AND NEW ACTS D) INTERLUDES (KNOWN AS SINFONIAS DURING PERIODBOCCUR BETWEEN SCENES) E) LIBRETTOBTHE WORDS SUNG DURING THE OPERA WERE WRITTEN BY ANOTHER PERSON CALLED A LIBRETTIST) ORATORIO 1) 2) 3) 4) 5) DESCENDED FROM THE RELIGIOUS PLAY-WITH-MUSIC FIRST ONES WERE SACRED OPERAS LATER ONES LEFT THE STAGE LARGE SCALE MUSICAL WORKS (GENERALLY BASED ON A BIBLICAL STORY) PERFORMED IN A CHURCH OR HALL WITHOUT SCENERY, ACTING, OR COSTUMES
The Fantastic Symphonie Fantastique The Symphonie Fantastique was composed by Hector Berlioz in 1830. It is a large scale work with distinguishing programmatic origin and contains five movements. The first movement of this piece is an allegro, followed by a waltz, then to a slow movement, to a march, at last a finale. This is one of the first programmatic symphonies. The movements of this symphony combine a fixed idea along with other elements to connect the movements to one another.
The music ended tonic key transitioned to bridge and modulated to dominant key. The second theme was presented in dominant key and concluded with codetta. 6. How does the music of the recapitulation compare to the music of the exposition? Exposition is the place where the composer “exposes” all of their musical ideas that they will use in movement Recapitulation.
Dido’s Lament The Baroque period was a significant turning point for music; it began to be a separate form of art and not purely based in religion. The use of Recitative and Aria became a critical key factor to the development of opera, and is clearly used in “Dido and Aeneas” by Purcell. To enhance the characteristics of the Baroque opera, many techniques for manipulating Pitch, Duration and Dynamics were used. With these techniques it created more emphasis of the text with the use of word painting and string instruments. Throughout this piece the Recitative of the song is mainly sung in speech form, creating emphasis on specific parts of the text.
* Mozart is known for his great melodic ideas, his melodies are simple, elegant and songful. * The three works of Op. 10 are in C minor, F major and D major. The first was begun in 1795 and the third completed by July 1798. Published in September, 1798, by Eder in Vienna, the set is dedicated to Countess Anna Margarete von Browne, whose husband, Count Johann von Browne (1767-1827), was one of Beethoven's chief early patrons.
The development and the recapitulation manipulates the motive over and over again before pausing for an oboe solo which briefly halts the momentum of the music. The coda features a dominant-tonic harmony battling with the percussion emphasizing the beat. The second movement is in theme and variation form; as the form suggested, the movement features two different pastoral themes which becomes four simple elegant variations. The motive is heard during the variations, interrupting the peaceful mood until the basses create a powerful note heralding the return of the variations. The second movement ends with the bassoon and an accelerated passage in the coda.
ESSAY ASSIGNMENT #5 Part I. The two giants of the baroque period were George Frideric Handel and Johann Sebastian Bach. Summarize what elements might be found in their music highlighted in the "Characteristics of Baroque Music" section. Including the following elements: Unity of Mood, Rhythm, Melody, Dynamics, Texture, and the Basso Continuo or Figured Bass. In the Baroque period the music consisted of one main mood throughout, if it begins with grief it will end with grief.
Defining Romanticism Napoleon Bonaparte once said, “Music, of all the liberal arts, has the greatest influence over the passions” (Machlis et al., 2003). This quotation clearly captures the essence of romanticism. Romanticism is characterized by a personal, subjective approach to the arts. Thus, expressions of intense emotions are often evoked through this style of art. In the following articles, “Beethoven’s Instrumental Music”, written by the music critic and composer, E.T.A.