Beethoven to discuss the historical significance and evolution of the six genres of the Viennese Classical Style. I. The String Quartet; II. the Symphony and the Symphony Orchestra; III. Sonata; IV. The Concerto; V. Serenade This essay will also describe the four forms found in the four-movement symphony. Sonata allegro; Ternary; Theme and Variations; Rondo Introduction The social and political scene during the late 18th century was hardly a setting for a quiet‚ composed classical age in view
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1. Intro: Composer Ludwig van Beethoven was an innovator‚ widening the scope of sonata‚ symphony‚ concerto‚ and quartet‚ and combining vocals and instruments in a new way. His personal life was marked by a struggle against deafness‚ and some of his most important works were composed during the last 10 years of his life‚ when he was quite unable to hear. He is an crucial figure in the transition between the Classical and Romantic eras in Western art music‚ a pianist‚ a composer who remains one of
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works includes Variations on a March by Dressler‚ WoO 63 and Three Piano Sonatas in E flat‚ f and D‚ WoO 47. The 2nd movement in f minor‚ a key rarely used as that time gives a passionate mood. CPE Bach‚ whose works were studied by Beethoven‚ also wrote 3 keyboard sonatas in f minor. Another important work of the period is the Three Piano Quartets in E flat‚ D‚ C. Each Piano Quartets is modeled after a specific piano or violin sonata by Mozart‚ the K380‚ K379 and K296. The funeral cantata for Emperor
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cello and Lee Jordan-Anders‚ piano 14 October‚ 2012 Dr. Ford Tidewater Community College CA#1 The Program Sonata in A Major‚ Opus 69 (1808) Ludwig van Beethoven Allegro‚ ma non tanto Scherzo‚ Allegro molto Adagio cantabile/Allegro vivace Sonata (1915) I.Prologue: Lent‚ sostenuto e molto risoluto II.Serenade: Moderement anime III.Final: Anime‚ leger et nerveux Claude
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“classical” composers like Mozart embodied the idea of progress through reason‚ while criticizing existing social and political institutions. Both in his instrumental work‚ like Sonata No. 16 in C‚ and in his operas‚ such as The Marriage of Figaro‚ Mozart used forms and lyrics that captured the essence of the Enlightenment. Sonata No. 16 in C provides a great example of how music can rely on the idea of progress through reason. Unlike the virtuosic pieces of the Baroque era‚ 18th century music was characterized
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Mozart?s Piano Sonata No. 2 (K.280) Mvt. I is a rarity in that it follows almost every rule of sonata-allegro form to a ?T.? I consider this a most striking find‚ since there really wasn?t anything called sonata-allegro form in the classical era. It just happened to be that music was very set in ratio now that we look back on it. Mozart wrote this piece in 1775 when he was just 19 years old‚ and it was his second piano sonata (as the title suggests). The exposition starts out in F Major with a small
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this year’s concert series on January 31s at the Slosberg Music Center‚ a show that compelled virtually everyone to attend‚ even intern president‚ Lisa Lynch‚ attended. The show’s program began with a composition by Gabriel Fauré (1845-1924)‚ two sonatas for violin and piano from 1876‚ which was a breakthrough work‚ back then‚ for the 30-year-old composer. Before the composition was printed‚ Fauré was known chiefly as a composer of songs and short piano works‚ and they were mostly listened in salons
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home town to honor him. Following his wish‚ his own Funeral March in Memory of Rikard Nordraak was played in an orchestration by his friend Johan Halvorsen‚ who had married Grieg’s niece. In addition‚ the Funeral March movement from Chopin’s Piano Sonata No. 2 was played. His and his wife’s ashes are entombed in a mountain crypt near his house‚
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second violins‚ viola and cello. When writing for the string quartet‚ the composer had to overcome the lack of contrasting tone colours through the use of beautiful melodic and harmonic lines. Most string quartets included two allegro movements in sonata-allegro form‚ an andante and a dance movement. The Symphony: The symphony had its roots in opera overtures. It was the first monumental form written exclusively for instrumentalists. In their symphonies‚ usually longer‚
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