He was playing piano concertos at the age of eight. Chopin became a successful composer, teacher and performer in Vienna and Paris. His piano music includes Polish folk music and dances such as the mazurka and polonaise, and reflects his love of his homeland. Chopin composed Prelude Number 15 whilst isolated in a monastery in Vallderosa in Spain because he had tuberculosis, an extremely infectious disease at the time. He died about a year later in Paris at the age of 39.
It started before the Romantic period, but it become popular with German composers of the nineteenth century. The first generally accepted example of a song cycle is Ludwig van Beethoven’s An die ferne Geliebte, opus 98. It considered being the first true song cycle by a major composer. He composed in 1816, and it can be seen as the first real song cycle by a great composer in the sense that it is a number of songs by voice and piano that are clearly related with each other. The six songs of the cycle flow into each other, the tonal structure is very clear, and the poetic structure is also clear.
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
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. • There is then the return of the main motif announced by the full string and wind sections and the horns, followed by sequenced variations. • At bar 38 a new rhythmic and melodic ascending motif is introduced in the strings: • The bridge passage consists of
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.
The initial melody idea in the development is the dotted quaver-semiquaver motif taken from bar 14-15 of the exposition section. In bars 112-113 there are diminished 7th chords taken from the 2nd subject of the exposition (bar65-66), these diminished 7ths lead us into D major (bar 114). In bar 116-117 diminished 7ths are used again to take us to G major for bars 118. Diminished 7th chords used again in bar 120-121 which takes us to the key of C minor for bars 122-125. The rapid modulation continues throughout the 1st section still going round the cycle of 5ths moving to F minor (bar 126-129), Bb major (bar 130-131), Eb major (bar 132-133), then Eb minor (134-135) and finally resolves onto the unrelated key of Bb major for the second section of the development.
Piano Sonata in Bb, K.333: movement I is a classical sonata that was written by Mozart in 1783; Sonata for Horn, Trumpet and Trombone: movement I is a neoclassical piece of music that is in ternary form, it was written by Poulenc in 1922 and revised in 1945. There are many similarities and differences between these pieces and I will be comparing and contrasting the tonality and structure that they have. Mozart’s K.333 is written in sonata form, which was the form that was most common during the classic period, the period in which Mozart wrote this piece. A sonata form contains three main sections, which are called ‘subjects’. These sections are the exposition, which starts from the first bar in K.333, the development, which between bars 63 and 93 and the recapitulation that occurs from bar 93 until the end of the piece.
I like the xylophone part because it felt like it was one part of the song. In the second chorus, which is also a 32-bar form, repeats what was played in first chorus. In the music, it seems like that the piano is the main instrument. The entire band seems to be a main instrument for the background
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.