Beethoven has asked him to write the poem, and the last line of the first song that is repeated in the sixth song has been added by Beethoven to create the opportunity for a re-exposure of the theme of the first song. The song cycle has been a great inspiration for later writers of song cycles, where motives have been used also in instrumental pieces of many composers. Franz Schubert wrote two long song
Vivaldi’s orchestra in the Bassoon concerto consisted of a bassoon, Violin 1 and 2, Viola, Cello, and Bass. ******** Composer Beethoven was born in Germany. He was an innovator, widening the scope of sonata, symphony, concerto and quartet, and combining vocals and instruments in a new way. His personal life was marked by a struggle against deafness, and
THE CLASSICAL PERIOD (1750-1825) THE CLASSICAL PERIOD OF MUSIC 1) TIME OF GREAT MUSICAL EXPERIMENTATION AND DISCOVERY 2) CENTERS AROUND ACHIEVEMENTS OF VIENNESE SCHOOL A) HAYDN B) MOZART C) BEETHOVEN 3) THREE CHALLENGING PROBLEMS A) EXPLORE MAJOR-MINOR SYSTEM TO ITS FULLEST B) TO PERFECT A LARGE FORM OF ABSOLUTE INSTRUMENTAL MUSIC (THE SONATA CYCLE) C) TO DIFFERENTIATE BETWEEN ITS (SONATA CYCLE) VARIOUS TYPES 1) SONATA 2) CONCERTO SYMPHONY 3) ELEMENTS OF THE CLASSICAL PERIOD 1) ELEGANT AND LYRICAL MELODIES A) ELEGANT AND LYRICAL MELODIES B) CLEAR-CUT CADENCES 2) THE HARMONIES THAT SUSTAINED THESE MELODIES A) FIRMLY ROOTED IN THE KEY RHYTHM 3) A) MUSIC WAS IN EITHER 2, 3, 4, OR 6/8 B) STAYED IN RHYTHMIC STYLE IT BEGAN WITH 4) FORM A) UNFOLDED
The Bass Clarinet The bass clarinet, invented in the latter half of the 1700s, was originally used only as an orchestra instrument. By the 1920’s, it was employed in bands, often doubling or substituting for other deep-voiced instruments. It is a single-reed woodwind instrument. The range is one octave below that of the b-flat soprano clarinet. Ever since its invention in the late 18th century, the bass clarinet has evolved into the instrument that is used in orchestras and bands.
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
Theme two starts at about 55 seconds and takes us off with a happy, major, melodic feeling that ends around 1:30. In traditional sonata form, the first two themes are usually repeated. As you can tell, that is exactly what Beethoven did. Soon after the repeat of the first two themes, we move into the development at around the 3:00 mark. 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.
The piece had its première at the Berkshires Music Festival in 1919, and was well received. It, along with the Piano Trio of 1921 and the Rhapsody for cello and piano of 1923, represent the peak of her compositional career, though afterwards Clarke wrote hardly any more music. Clarke gives us an incipit on the first page of the sonata, a quote from La Nuit de mai (1835) by the French poet Alfred de Musset: | | | |Poète, prends ton luth; le vin de la jeunesse
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.
Antonio Lucio Vivaldi Antonio Lucio Vivaldi was born on March 4, 1678 in Venice, Italy, and died on July 28, 1741, in Vienna, Austria. Vivaldi was an Italian music composer who lived during a period of art commonly known as the Baroque era. His father, a barber and a talented violinist at Saint Mark's Cathedral had helped him in trying a career in music and made him enter the Cappella di San Marco orchestra. Vivaldi's health was a problem during his childhod with a form of asthma. This did not prevent him from learning to play the violin, composing or taking part in musical activities, but it did stop him from playing wind instruments.