The texture is homophonic which is predominant in the classical period. The texture begins thin and then gradually gets thicker. In variation 1, the instruments especially the clarinet make wide leaps between one to another. In bars 9 to 11 violin 1 plays the quavers similar to an alberti bass. Also in bars 12 and 15 of variation 1 the quavers ascend chromatically.
Both of the pieces also had different purposes, the Handel was written as a celebration for the king. Whereas the Mozart was written to showcase the development of the Horn at this time and also to show the virtuosic abilities of Leutgeb. Handel uses a generally large orchestra containing 2 oboes, a bassoon, 2 horns, 2 trumpets, violin 1, violin 2, viola and cello and bass. Whereas Mozart uses 2oboes, 2 horns, a solo horn, violin 1, violin 2, viola and cello and bass. Although Mozart uses a solo Horn, both pieces have the strings as their main body.
The first section was Franz Schubert’s Symphony No. 8 B Minor, “unfinished,” D. 759. The instruments used were fifteen violins, six violas, five cellos, three bass, two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, and a harp. The first movement is Allegro Moderato in B minor. The movement opens with a dark melody in the bass, followed by a soft flowing melody.
Sostenuto and sotto voce are also used to convey the poetic mood. The piece is played a la cantabile (in a singing style). Structure This piece is loosely in ternary form (ABA) and falls into 3 quite unbalanced sections; A (bars 1-27) in the key of D flat major, B(bars 28-75) in the key of C sharp major, repeated section A (bars 75-81) in the key of D flat major, and the Codetta (bars 81-99) in the key of D flat major. This piece is unusually structured for a
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.
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’.
There are two parts to the piece which are the treble and bass of the piece. The bass accompanies the top line throughout most of the piece but has certain parts where it takes over the melody e.g. when the piece modulates and it goes down in a scale towards the end of the piece. The harmony of the piece is complicated as it modulates frequently. It starts off in E minor for the first and second phrases but towards the end of the second phrase it modulates to G major which is the relative major of E minor.
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
Later, the strings came in as an accompanying section along with the guitar playing chords. After the English horn finished the melodic solo, Mr. Williams played the melodic line, which is almost identical to that of the English horn. Mr. Williams’s solo was very melancholic, yet uplifting. Both the soloist and the orchestra were very sensitive to harmonic changes and drama during the movement. The cadenza was very impressive musically and technically.
The melody is played in the right hand in section A and moves to the left in section B. Also, there is a lot of ornamentation in the first melodies. The overall and section A key is Db maj. In section B, it is C#. These keys have an enharmonic and tonic minor relation.