Cyclical Literature in early19th Century A song cycle is a group of songs designed to perform in a sequence during classical music. All of the songs are by the same composer and often use words from the same poet, lyricist, or relating a story. Each song sang separately, but the composer imagined that they would be performed together as one work. They are for solo voice and piano accompaniment, however, they also can be without accompaniment or instruments. It started before the Romantic period, but it become popular with German composers of the nineteenth century.
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
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.
They may contrast moods within movements and also within themes (Pg. 302).” The piano took the place of the harpsichord during the classical era and was favored by the composers of the time. Mood plays a big part of Classical music with its fluctuation of movement within each piece of music. Classical music is said to have five basic characteristics according to Sporre (2013), “1. Variety and contrast in mood, 2.
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.
An Italian harpsichord maker, Bartolomeo Cristofori (1655-1731), invented the fortepiano and continued to develop this instrument until the 1720s. In the 1730s, Gottfried Silbermann, a German constructor of keyboard instruments, took up the work of Cristofori and built several grand pianofortes based on Cristofori’s design. The classical fortepiano has lighter, thinner, less emphatic, more transparent and sustained tone color than the modern piano we have now. The lightness of its construction produced a crisper sound that is characteristic of the music written of this day. Cristofori’s pianos were not treasured in the beginning since his pianofortes were still very similar to the clavichords.
There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95. Timbre The vocal part is for a tenor voice, with some sections requiring a quiet, whispered tone. The song is accompanied by a large, live band. Instrumental timbres include pizzicato strings [plucking], clarinets often in their low register, muted brass, piano and drum kit. In the bridge, high bowed strings, sometimes using harmonics and tremolo, add a countermelody.
Sonata form mainly focuses on the harmonic and thematic expression of music that sets the mood in the exposition. The development is contrasted and elaborated, and usually resolved with a safe sound of harmony in the end, recapitulating the main ideas. Among all of the examples we have heard in class like Mozart’s Symphony 25, or the Moonlight Sonata, I believe that Ludwig Van Beethoven's Symphony No. 5 represents sonata form with the most accuracy. The exposition of Symphony No.
Occasionally, composer simply borrowed popular tunes, but more often, they wrote original themes with a popular character. Classical melodies often sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase, in such melodies, may begin like the first, but it will end more conclusively and it will be easier to sing. Dynamics and the piano - The Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change - crescendo (gradually getting louder) and diminuendo ( gradually getting softer). The end of basso continuo - The basso continuo was gradually abandoned during the classical period.
Franz vowed then, and there to be the pianist version of Paganini. Already an accomplished composer, Franz took time off from concerts to work tirelessly day in and day out until he emerged, a few years later, as the greatest pianist of his time. Liszt created sounds from the piano as if an orchestra were playing them, and he had remarkable finger dexterity; works such as Douze Grandes Etudes and Paganini Studies show off his amazing talent on the piano. He was an excellent showman. His work encompassed the use of bold leaps, and extreme dynamics.