work as a free lance artist‚ and died a pauper. A. Wolfgang Amadeus Mozart B. Ludwig von Beethoven C. Franz Joseph Haydn D. Franz Schubert 5. A typical sequence of movements in a classical concerto is A. fast‚ slow‚ fast B. slow‚ fast‚ slow C. fast‚ dance-related‚ fast D. fast‚ slow‚ dance-related‚ fast 6. Which of the following is an optional part of a sonata-form movement? A. exposition |C. coda | B. development |D. recapitulation | 7. A _____________ is a musical
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1. Which weighs more? The modern piano 2. Which instrument responds more rapidly to the player’s touch? The 18th-c. piano 3. An extended range of available notes (seven-and-a-quarter octaves‚ instead of just five) is a feature of the modern piano 4. If the relationship between two (or more) musical tones is simple and stable‚ we call the combination consonant 5. When composers combine tones successively‚ we call the resulting series a melody 6. By the late 18th century‚ the
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“Sensitive Style”; used by CPE Bach in his Keyboard Sonata; in this style‚ it is almost as if the phrases are one gesture after another (not really connected in any way) the composition is VERY intimate with ornamentations; the melody is fragmented and improvised‚ very emotional with embellishments everywhere Alberti Bass: A style of bass accompaniment used in piano sonatas (a style of arpeggiation‚ keeps the pieces moving) (used in Mozart’s piano sonatas!!) Opera Buffa: Comical opera‚ always in Italian
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Ma’am Chesyl Momin Date: February 9‚ 2012 The Classical Era spanned roughly 80 years in music history and gave us 3 of the most famous composers of all time: Mozart‚ Beethoven and Haydn. The classical era spans roughly 80 years in music history during the 18th and 19th centuries and is often associated with the movement called the Age of Reason. It is defined by a return to symmetry and simplicity not only in music‚ but also in architecture
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differences were that music was a lot simpler‚ the most recognising characteristic was the change of texture. According to Levy (1982)‚ homophonic texture was the most common texture at that time. A lot of works were composed homophony‚ a lot of Haydn and Mozart’s sonatas can be listed as examples. Baroque music was in polyphonic texture and counterpoint (Owen‚ 1992). Compare to the polyphonic texture in Baroque‚ music was having less restrictions. For example‚ Scarlatti’s Fugue in G minor “The Cat Fugue”
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symphonies‚ 5 concertos for piano‚ 32 piano sonatas‚ and 16 string quartets. He also composed other chamber music‚ choral works‚ and songs. Born in Bonn‚ then the capital of the Electorate of Cologne and part of the Holy Roman Empire‚ Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn‚ Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to
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the audience was mostly students in casual clothes‚ and a few people in formal clothes. The program was in the following order: An “Overture and Finale” originally by Ronald Lo Presti; Concerto for Trumpet‚ 1. allegro (sonata) and Concerto for Trumpet‚ 3. allegro (rondo) by Joseph Haydn; Concert Etude by Alexander Goedicke and finally‚ “The Debutante” by Herbert L. Clarke. Unfortunately‚ the third composition had been cancelled on that day‚ so we could only hear 4 pieces out of the 5 songs. The structure
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c. 1787: brief visit to Vienna‚ may have played for Mozart d. 1790: Haydn hears Beethoven’s music and urges the archbishop of Cologne to send him to Vienna 2. Studies with a number of composers a. 1792-94: studied with Haydn b. 1794: Johann Schenk (1753-1836): composer of Singspiels
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three movements- * I. Allegro * II. Andate ma Adagio * III Rondo : tempo di menuetto The first movement is sonata form‚ the second movement is a slow movement with small variations on motifs and the final movement is a rondo. They follow the key structure of I-V-I This is originally written for accompaniment by an orchestra but editions are available with just piano accompaniment. The piece stars with an orchestral introduction of 34 bars playing a few motifs from the piece until the
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Cambridge UP‚ 1993. Print. 18th Century Overtures. Westport‚ CT: Hyperion‚ 1979. Print. Clark‚ Caryl Leslie. The Cambridge Companion to Haydn. Cambridge: Cambridge UP‚ 2005. Print. Hosler‚ Bellamy. Changing Aesthetic Views of Instrumental Music in 18th Century Germany. Ann Arbor‚ MI: UMI Research‚ 1981 Landon‚ H. C. Robbins‚ and Joseph Haydn. The Symphonies of Joseph Haydn. London: Universal Edition‚ 1955 Schulenberg‚ David. The Music of J.S. Bach: Analysis and Interpretation. Lincoln: U of Nebraska
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