Also in bars 12 and 15 of variation 1 the quavers ascend chromatically. In the first two bars the fragmented motif is played by the violins and then in bar 4 the same fragmented motif is played
Although Mozart uses a solo Horn, both pieces have the strings as their main body. Also in the first movement Handel’s Water Music Suite No.2 the orchestra is split into two groups, which alternate throughout the movement, giving an antiphonal feel. Which is similar to that of Mozart’s Horn Concerto No.4 which is split into 2 groups, the Solo Horn and accompaniment, and the tutti sections. Both pieces use orchestral horns, but Mozart’s Horn Concerto No.4 uses a solo horn as well. In both pieces the orchestral horns only use the open notes.
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.
Stravinsky has re-written this music for woodwind with many contrapuntal counter melodies. In bar 11, the horn part could be described as ‘sighing’, and in bar 15, the bassoon has glissandi written in which are very unusual timbres, especially considering this music was once for solo keyboard. The final four bars before variation one are exactly as Monza wrote them, only re-arranged for wind. Variation 1 starts with the first horn
Describe the features of Beethoven’s Septet in E flat, movement 1 that are typical of the Classical style. Beethoven’s septet uses many different textures which were very typical of the Classical period. For example at the beginning of the exposition (bar 19) he uses an alberti bass with a repeated broken chord quaver rhythm which continues for 10 bars. Within this sequence he uses simple diatonic chords, mainly I, V, II and occasionally IV with the violin playing a melody of a series of chromatic phrases. This was very conventional in this Classical period.
The third part is even slower yet, but has a new sense of cheer to it. As the soloist sings with the instrument, you begin to get into and expect this peaceful melody to continue, when all of a sudden Bach adds in the whole choir in an instant going at a quick tempo. The notes are also crisper then before adding feelings of excitement. Throughout the parts, imitative polyphony is used, as the lines are independent yet sound together harmonically. The color and tone of the various voices and instruments flavour the melody and all appear to contribute to each other.
O Successores was a musical selection written by Hildegard Bingen. A mass which played a huge role in the catholic church was a worship service done in the latin language. Guillaume was one of the motet composers during this time and he wrote the Notre Dame Mass which is located in Paris, France. A motet is a number of choral musical compositions.Also during the middle ages the troubadours and trouveres were nobles that traveled throughout Europe. The songs usually performed by court minstrels most of them dealt with love.
Sonata Form Topic: Sonata Form Thesis: Analysis of the classical structure and key characteristics of sonata form to create a musically effective work. Introduction The term ‘sonata-form’ is the form in which the first movement of a sonata is typically written in. It is usually the most dramatic movement and stresses an exciting development of short motives, and like all other movements of the sonata, presents its own motifs and themes. History The word ‘sonata’ comes from the Italian for sounding. 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.
As a singer Dr. Biernacki has appeared in principal roles with Vancouver Opera, Manitoba Opera, Calgary Opera, Orchestra London Canada, Theaters of Jablonec and Usti nad Labem in Czech Republic, as well as opera ensembles of University of British Columbia and University of Western Ontario. Highlights of his operatic engagements include "Eugene Onegin," "Barber of Seville," "Madam Butterfly," "La Boheme," "Cunning Little Vixen," "La Fanciulla del West," "Rigoletto," "Carmen," "Dido & Aeneas," "The Crucible," "Merry Widow," "Die Fledermaus," "Der Freischütz," "Un Ballo in Maschera," "Don Pasquale," "Gianni Schicchi," and "Merry Widow." Dr. Biernacki's commitment to contemporary music is highlighted by world premiere performances heard on CBC Radio and CBC Saturday Afternoon at the Opera including a highly acclaimed production of "Filumena" co-produced by the Calgary Opera and Banff Centre for Performing Arts. Last summer Dr. Biernacki made his Carnegie Hall debut with UNF Wind Ensemble (now Wind Symphony) performing works of Tchaikovsky and Tosti. In October 2009 he was reengaged for
The Baroque expressive effects of chromatic harmonies established in the major-minor key system with very brief expansions to other keys would evolve into Classical opera's favoring of diatonic harmonies expanding on the tonic-dominant scale which became the basis for classical opera's large scale form. Early baroque masters like Claudio Monteverdi wrote operas based on mythology and Roman history and English composer Henry Purcell wrote Dido and Aeneas, based on The Aeneid, a Roman epic by Vigil. These large-scale musicals combined acting, poetry, scenery and costumes accompanied by singing and instrumental music characterized by regular rhythms and continuous melodic expansion to evoke the emotions of the listener. The emotions of the Baroque revolved around a