An Essay On The Features Of Mozart’s Symphony No.40 in G Minor, 1st Movement This fine classical piece, written in 1788 by Wolfgang Amadeus Mozart, has many notable features, textures and subjects. There are balanced and elegant melodies, with clear-cut phases and cadence points. There are a range of moods within this symphony. A symphony in itself is a very large piece played by the full orchestra, and in this piece the 1st movement has sonata form, and is brisk and purposeful (molto allegro). Sonata form means that it has 3 main sections; Exposition, Development and finally Recapitulation.
However, in bar 114 the texture converts from homophonic to polyphonic. In this bar the bassoons and lower strings play the first subject, while woodwind play a counter melody. This creates a polyphonic, or contrapuntal, melody. Pedals are used frequently throughout the symphony. In the first subject, the main theme is harmonised by a tonic
Though Copland began writing his music in the mid 1920s it was in 1935 with “El Salón México” that Copland began his most productive and popular years. The piece presented a new sound that had its roots in Mexican folk music. Copland believed that through this music, he could find his way to a more popular symphonic tune. Some agree that Copland’s best works were his scores for ballets. He composed scores for a number of ballets, including two of the most popular of the time: “Agnes DeMille’s Rodeo” (1942) and Martha Graham’s “Appalachian Spring” (1944), for which he won the Pulitzer Prize.
From the allegro to the andante, and from the forte to the piano, this piece encompassed all that one would look for in a piece to overview the orchestra. In fact, it was so symphonic in its style that when it ended I half expected the conductor to continue on into another movement. Up next was the Gaber piece. This three movement contemporary piece was the first of its kind that I had heard. It featured a mezzo soprano vocalist, Allison Sanders, a jazz trio (guitar, double bass, and drum set), and of course, the orchestra.
* 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.
Fifth Symphony The Fifth Symphony is one of the major symphonies composed by Ludwig van Beethoven. Premiered in 1808, it featured the whole orchestra. The first movement is in C minor, four chords are thrust forward in monophonic texture to open the work. The work is built upon a short motive which repeats throughout the piece with slight variation each time, creating a cyclical structure to the entire symphony. The four note motive repeats in the first theme constantly repeated with variation in rhythm, instrumentation, and dynamic level.
The music of the Classical Period is characterised by objectivity and emotional restraint, clarity of form and adherence to certain structural principles. Although Beethoven made use of the concepts of music predominantly in the style of the classical era, he incorporates several aspects which are more evident in the romantic period. As a composer of the late classical and early romantic periods, Beethoven’s Symphony No. 5 epitomises the stylistic characteristics of the classical era but also a progression into romanticism is evident. Structure • Sonata form – repeat of the exposition was predominantly used in the classical period • Exposition x 2: o 1st subject – b.1-43 o Bridge passage – b.44-58 o 2nd subject – b.59-94 o Codetta – b.95-124 • Development – b.125-247 • Recapitulation: o 1st subject – b.248-287 o Bridge passage – b.288-302 o 2nd subject – b.303-372 • Extended Coda – b.373-502 Pitch Melody: • Piece begins in C minor with several modulations throughout: o The second subject modulates to E flat major through the descending arpeggios in the bridge passage o The development is in F minor before modulating back to the tonic of C minor in the recapitulation o The second subject in the recapitulation is in C major, the tonic major o The piece is back to C minor in the coda and there is an extended tutti perfect cadence from bar 496 to the end o The modulations are of major and minor tonalities, a classical characteristic • From bar 6 there is the use of imitation and sequences in the throughout the strings before the whole orchestra restates the theme at bar 18.
This performance consisted of four acts. The versatility of the acts was instruments and vocals containing such as piano duets, a singing soprano, harps and poets, and a violin and cello. The selections were from the following composers Claude Debussy and Maurice Ravel. The chosen selections from each composer were Six Epigraphes Antiiques, Sheherazade, Chansons de Bilitis, and Piano Trio. These selections were all romantic styles of music.
finally we realized we went to the wrong place. However, when we reached there, the recital had already started, so we waited outside the door. This is a student recital, the performer is a handsome man named Evan Mitchell. He played 7 pieces in his recital. They were 《Sonatina》 by Edino Krieger, 《 Sonata in A Major, Op.101》 by Ludwig van Beethoven, 《 Rain Tree Sketch》 by Toru Takemitsu, 《Scherzo in C-Sharp Manoir, Op.39》 by Fryderyk Chopin, 《Piano Variations》 by Aaron Copland, 《From Variations on a Theme of Paganini, Op.35》 by Johannes Brahms, and 《Etude in B Minor, Op.25 No.