Discuss the principle differences and similarities between the orchestra used by Handel and Mozart, and how the composers wrote for them. Handel’s Water Music Suite no. 3 was composed in 1717 and uses a relatively large orchestra for this early Baroque period. Mozart’s Horn Concerto No.4 was composed in 1787 and uses a relatively large orchestra for this time. Both of the pieces also had different purposes, the Handel was written as a celebration for the king.
There is a perfect cadence (chord V to I) at bar 4 followed by ornamentation over a dominant 7th chord in a septuplet figuration incorporating an acciaccatura (crushed note). Chopin also uses an ominous crotchet tread in this piece towards to end of the A section in order to create a feeling of dread or anticipation. Chopin’s piano music is a perfect example of the Romantic ideal for expressing the poetic feelings and emotions through the medium of sound. He uses long lyrical melodies (see the whole of the A section, most prominently in bars 12-16, and bars 79-80) to convey these emotions, as well as arpeggios in bars 14, 16 and 18. There are also broken chord accompaniments, and a falling motif in bar 1 which help convey the mood.
Bourrée Johann Sebastian Bach Bourree was written by J.S. Bach who was born on 21st March 1685 and died on 28 July 1750 which was when the Baroque period ended and the Classical period started. Bach was a German composer, organist, harpsichordist, violist, and violinist who wrote pieces for orchestras, soloists and choirs. He is one of the most famous composers in history and wrote many famous pieces such as Toccata and Fugue in D minor for Organ and the Brandenburg Concertos. The piece Bourree is a movement from the Suite in E minor originally written for Lute which is one of seven suites.
Gallo’s piece of music would have had a fourth instrument (i.e. a harpsichord) to fill out the harmonies, but Stravinsky instead uses the whole orchestra to double notes and fill out additional harmonies. At the same time he also adds chromaticism to these chords (e.g. adding an A to the G major chord in bar 3), including the use of open strings in the second violin part (G-D-A). This is unusual as open strings were generally avoided in Gallo’s time as they were bare.
This song is not a standard or an original, but it holds a special place in my jazz repertoire. The third track, “Sunday Variations”, is a fast paced little Latin-like chart. Randy Vincent on the guitar and Rory Snyder on the Alto Saxophone have the solos. Even though I am not a huge fan of Latin Jazz, I like this song because it has a well-written trumpet soli and it has a nice chord progression. This song was not a Mike Vax original, but it was written by Howard Cespedes.
In the Bryan Symphony Orchestra, the was Franz Schubert’s Symphony No. 8 B Minor, “unfinished,” D. 759 has Allegro Moderato in B minor and Andante con moto in E major, while the Sergei Rachmaninoff’s Concerto No. 3 for Piano and Orchestra, OP. 30 has Andante con moto in E major, Intermezzo: Adagio (F sharp minor/D flat major), and Finale: Alla breve (D minor → D major). The first section was Franz Schubert’s Symphony No.
Analysis and Comparison of the Clarinet and Viola Versions of the Two Sonatas by Brahms Name Institution Introduction Johannes Brahms, a romantic composer, did two clarinet sonatas Op. 120, 1 and 2 in 1894. Brahmas wrote the two works for clarinet and piano, and dedicated them to his clarinetist friend Richard Mühlfeld (Musgrave, 1985; Swafford, 1997). The clarinet sonata was largely underdeveloped with regards to its form until the completion of the two sonatas, when the combination of piano and clarinet was used in the subsequent works. The two composition are significant among Brahms other works as they stem from a period in Brahms life when he just embraced the beauty of color and sound of the clarinet.
For example in bar 27 of the trumpet solo in Hotter Than That Armstrong plays an Ab followed by an F# before landing on the G, which is the 5th of the chord on the first beat of bar 28. This emphasises the chord tones but also adds tensions by delaying the resolution and the
Traditional and Innovative Aspects of Bartók’s Concerto for Orchestra Movement 1 Bartók had several precursors in composers who also had written works entitled Concerto for Orchestra [Hindemith (Frankfurt 1925), Petrassi (Rome 1933-34), and his colleague Kodály (Chicago 1941)], so that while it was decidedly a twentieth century species, his was not the very first to emerge; while still ‘modern’, there was more than a brief bit of history behind it, as I hope to show. Straightaway let me note that in terms of instrumentation, the scoring would argue a Romantic symphony: the ‘serious’ brass in the forms of trombones and tuba as well as the regular trumpets, together with the triple sets of woodwind, provide the kind of orchestral punch associated with some late nineteenth century compositions, for example, by Wagner; however, this impression is immediately dispelled once the orchestra strikes up: if we have to use a label, it might be termed Neo-classical. In keeping with the traditional symphony, it is a large, powerful opus, with the traditionally-structured five movements, although with Bartók’s individual stamp. Additionally, as the composer himself notes, ‘the first and fifth movements are written in a more or less regular sonata form,’ immediately showing a major Classical influence. One innovative aspect, commented on by Bartók in his programme note for the first performance, was the way he saw the whole orchestra as generating a constantly changing concertino drawn from the various orchestral sections, so that while the brass, for instance, may have the spotlight for a period, there is no individual virtuosic part, and the rest of the orchestra plays the ripieno part; thus, it is novel, yet reaches back in time to the concerto grosso of Baroque times, as do the canon and fugato sections of the development which I will look at later.
Typically, it is defined as an instrumental genre in several movements for soloist or an ensemble; however, throughout the different musical periods in history, it has taken on a range of meanings and been applied in a number of different contexts. The term sonata was first used in the Baroque period, in which it was used to describe a musical work that was played rather than sung. The classical period saw the definite form of the sonata established as a complete work, consisting of: * 1st Movement: Allegro (fast, vigorous and dramatic) * 2nd Movement: Slow (lyrical) * 3rd Movement: Minuet and Trio (dance like movement with 3 beats per bar) or scherzo * 4th Movement: Allegro (brilliant, heroic) This structure had been developed from the church sonata, the sonata da Chiesa, which consisted of two slow and two fast movements. Sonatas quickly became a very popular and important form, and were written for a number of instruments and groups. Two main examples include: * Symphony: a sonata for orchestra * Concerto: a sonata for solo instrument and orchestra However, the term ‘sonata’ is not to be confused with the imperative ‘sonata-form’.