- Recapitulation: 3rd section of the sonata-allegro. Reviews the material of the exposition, presenting it in a new light.…
Beauty and elegance is what the second movement is all about. The sound of the harpsichord is heard in the beginning of the second movement, followed by the flute and violin soloists. The second movement is for the soloists only, the flute, violin and harpsichord all playing with a sense of cooperation, portraying sombreness. It is soothing and free of the first movement’s tension.…
The first movement of the composition begins with a solo from only the strings family. A soft, consistent melody is played and the violin dominates the other instruments in this piece. The tone color at the beginning of this piece is relatively light which symbolizes the characteristics of a nuturing mother. As expected from a classical piece, the dynamics of the piece suddenly change, and there is a slight crescendo in the piece during the following measures of the composition. The tempo of the composition grows quicker in pace which portrays another chapter in the story, signalizng another movement of the piece. A violinist them performs a solo that plays alot that is also quick, yet play alot on the concept of pitch. It can be heard that the violin goes from very low ranges to fairly high range in pitch to emphasize the great amount of emotion in the piece.…
It is written for a five stringed cello. The Prelude of the D major prelude is the longest and grandest of the 6. It is an exuberant fast flowing introduction into D major. It is one of the only two movements Bach indicated dynamic. Bars are frequently written in repeated pairs, the first one strong, and the second one is an echo of the former one. The only other movement in the 6 cello Suites that has dynamic markings is the Sarabande in D minor. The Allemande is a German dance. The meter is 4/4, a calm walking dance without jumps. Courante is a French dance, was the favorite dance of King Lous XIV and he is said to have been very good at it. Allemande and Courante formed a pair, in which the Allemande is the calmer dance in 4, the courante the faster dance in 3. The Sarabande has its orgin in Spain. It is a slow majestic processional dance in ¾ or 3/2 with an accent on the 2nd beat and the first. In Suite 6 the Sarabande movement is in 3/2. All Sarabandes starts on the first beat. The Sarabande has two main accents, on beat one and on beat two and the third beat has no accent. The Gavottes are in 2/2 or 4/4 and all start with an upbeat of 2/4. The main accent is on beat one and the other accent is on beat three. Even if it is sometimes written in 4/4, the feeling is 2/2. Beat two and four have an upbeat character and no accent of their own. The micro-dynamic units are usually one bar. The first Gavotte is joyous…
Because of the influence on Bach from composers such as Corelli who helped cement the concerto grosso, it is evident in Bach’s Brandenburg Concertos that characteristic elements are stylistic of both composers. Some of these things that can be found in both Bach’s and Corelli’s compositions included: the cycle of 5ths chord progression, the resemblance between Bach’s concertino passages and Corelli’s trio sonatas, use of imitation and the strong sense of tonality through the use of sequences. However, The Brandenburg Concertos include many unique elements by Bach that separated his works from other composers such as Corelli and Handel and in a way separating himself from the restraints of Baroque style. Brandenburg No. 2 is more modern and sophisticated. In movement 1 Bach includes a trumpet. His addition of the trumpet contrasts to the instrumentation of concertos by other composers like Corelli who preferred strings. Bach also included six subjects, modulations in the episodes which convey the virtuosity of the concertino soloists, and the use of stretto (form of polyphony where voices overlap). In the 2nd movement he reduced the size of the orchestra by taking away the trumpet leaving three concertino instruments plus continuo. Bach’s complex construction of this movement sets him apart from other composers. There is not a set form however he utilises polyphony, imitation and call and response between instruments. The use of tierce de picardi gave a uniqueness to the 2nd…
In Beethoven’s Symphony no. 5 in C minor the first movement is called Allergro con brio and it is in sonata form. This movement is very intense and strong sounding and has a single rhythmic motive that is short-short-short-long. The first theme of this movement is in C minor. Throughout this theme he shifts the motive to different pitches and instruments. The second theme is in E flat major and starts with a varied basic motive of short-short-short-long-long-long. The horns starts a new melody that is calm sounding compared to the opening of this movement. In this movement you can hear horns, some woodwind instruments and some string instruments. This movement has a dramatic climax and the closing section starts in C major and moves into C minor.…
J. S. Bach: The Chromatic Fantasy and Fugue; Partita No. 2 in C minor or No. 6 in E minor; English Suite No. 2 in A minor or No. 3 in G minor; the Italian Concerto…
The second piece I am going to discuss is the Symphony No.2 in D Minor, Op. 36 composed by Ludwig van Beethoven(1770-1827). It was in the Classical period, and the genre of it is Symphony because of it had four movements. The first movement is in the Adagio molto form, the second movement is in the Larghetto form, the third movement is in the Scherzo: Allegro form which breaks the rule of most of symphonies, and the fourth movement is in the Allegro molto form. The length of the work is about thirty-five minutes and…
The orchestras played this piece to create a great closing to the concert. The conductor made a great decision to arrange this song to be at the end giving almost a sense of closure. The addition of the percussionist again helped give the piece the nice lifted feeling, as well as help the orchestra stay together; however the dynamic contrast between the four sections was rather light.The use of a snare drum drastically changed this piece, it feels more like a slow waltz. The little use of dynamics, however, kept the melody from popping out as much as it should have. In the beginning of the piece everybody played the notes with space between then; however towards the end, a few of orchestra members played the notes smoothly and connected whereas the rest of the orchestra played the notes spaced. The intonation and a steady tempo was retained throughout the performance which gave this piece a focused tone. The violins and violas did an excellent job using full bows, but the cellos needed to use long bows so they can create a deep, rich, and crisp sound. This piece made the audience feel excited and eager to hear more because many of the audience members recognized this…
To introduce the piece two cadenzas inspired by the same melody are performed over a continuous subtle harmony. The piece begins with sustained chords between the string instruments and wind instruments. This gives a relaxed effortless tone to the piece and resembles the calmness and tranquillity of a spring day in England. The violin then enters imitating the lark. The violin plays an ascending pattern with elongated arpeggios. The chords underneath drop out so the violin plays a solo introducing the first theme. The orchestra is quietly introduced and develops the almost folk like motif. A folk dance theme is then introduced led by the clarinet and flute and woodwinds as the solo cadenza is repeated. The full orchestra then comes in however it is still fairly restrained to imitate the English countryside. There is antiphonal exchange between the solo violin playing a trill and then the woodwinds imitating the bird like call. This is followed by the solo violin playing a series of cadenzas over the orchestra which could represent the lark flying over the countryside and rolling hills. The shorter cadenza for the soloist is fairly contrasting in comparison to the rest of the piece. There are two separate melodies competing with one another yet also mimicking each other. There is…
Bach's music 9. Rembrandt's style and scope 10. Vermeer's style and works 11. Handel's Messiah 12. Mozart's compositions Chapters 12 and 13 1.…
| Genre in several movements for one or more instruments/baroque instrumental piece with contrasting movements often with imitative counterpoint.…
1923 – she finished her music degree at Wheaton before she graduated from high school.…
The concerto is credited with being challenging but manageable in its technical demands of the soloist. While it contains many intricate techniques, it “plays well under the fingers,” undoubtedly because of Ferdinand David’s input. Because of this, it is widely used by violin instructors to introduce concerti to students. Its place as an introductory learning tool is held by Mendelssohn’s frequent use of octaves (rehearsal B and K) to lead the player to arrival points such as the high “B” after rehearsal B, seen in Example 1.…
The exposition is full of many different motifs, although many of these motifs are very similar or could in fact be put together to form a longer motif. The first motif to appear in the exposition would be the melody in the first violin part that starts on the last crotchet beat of bar one. The main motif within this melody would be bar three with the dotted crotched followed by the five quavers as seen as motif ‘x’ in Figure 1. Another motif that could be identified within this melody, which is only ever so slightly different to the first motif mentioned, would be bar two. The only difference between this motif and the earlier mentioned motif is the added grace note after the dotted crotchet and quaver as you can see in…