A review of a recording of the finale (4th movement) of Haydn’s String Quartet Op. 33 No. 2 The recording of the finale (4th movement) of Haydn’s String Quartet Op.33 No.2 that I have decided to review for you today is performed by the ‘Ariel Quartet’. This performance has a strong sense of togetherness and the performers give a sense of enjoyment through the performance. From research I have learned a lot about the background of this piece and about Haydn himself.
There is an very interesting thing that in this movement, Strauss use the same motive with the first movement of Brahms Violin Sonata no.1. This can be considered as Strauss’s respect to
The length of this movement itself (691 measures) is as long as a whole symphony in the previous generation and it is what made this movement ‘heroic’. Beethoven treated the main melody in this movement like a character in a drama. Beethoven started an unusual trend in the exposition by letting the cello play the pastoral theme which outlines an E-flat major triad. The triple meter is another bizarre trait, yet when it’s combined with the tempo of this movement; it reminds the listener of Deutsche peasant dance. The primary theme (see fig.
Lastly, “Romeo at the Grave of Juliet” part opened up with a long and slow theme of the violins with a brief accompaniment by the horns. Another light variants then entered by the other brass instruments in developing the theme which overpowered the minor mode of the music part. The suite closed with a delicate sound of both violins and clarinets in a restrained manner in a simple C-major key which depicted the two lovers united in
MASTER THESIS PROPOSAL TCHAIKOVSKY VIOLIN CONCERTO BY BETE-U LOSOU PYEONGTAEK UNIVERSITY Submitted to the Faculty of the University of Pyeongtaek in partial fulfilment of the requirements for degree of Master of Arts. PYEONGTAEK, SEOUL JUNE 27,2017 TABLE OF CONTENTS LIST OF EXAMPLES CHAPTER 1. INTRODUCTION 2. DEVELOPMENT AND MAIN CHARACTERISTICS OF THE ROMANTIC MUSIC 3. VIOLIN PERFORMANCE IN ROMANTIC ERA 3.1 Techniques used during the Romantic Period 3.2 Music Forms of the Romantic Period 4.
This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).
His musical prowess was one-of-a-kind, and he was brought up as that. His father, Leopold Mozart, was a phenomenal violinist, and great performer. Mozart compose his first piece at the age of five, and started performing at the age of six. Mozart had a phenomenal sense of pitch and had the ability to remember those pitches. His sense of music exceeded those of Johann Sebastian Bach, Ludwig van Beethoven, Joseph Haydn, and many others.
The Poem for Flute and Orchestra (1918) originally written for Georges Barrère demands high lyrical virtuosity from the performer. Technical aspects of performance all should serve to interpret the lyrical characteristic of the piece. Poem was first performed on November 16, 1919 by the New York Symphony Orchestra conducted by Walter Damrosch with Georges Barrère as the flute soloist. The atmospheric opening is heard as a refrain throughout the work, there are sections of dense chromatic language, polymetric dance, and enlivening technique.
One night in mid-November, my family and I went to see the Minnesota Orchestra perform 3 pieces. The first was a suite from The Snow Maiden by Rimsky-Korsakov. Then was the highlight of the concert: Tchaikovsky’s First Piano Concerto. They finished with Symphony No.4 by Williams. Overall, this concert was outstanding.
Megan Ihnen was the solo singer throughout the pieces. The second act was a concerto featuring three soloists. A Pianist, Cello player, and flutist. before they began the cellist introduced herself and told a little about the song. As she told us about the songs, she related it to her eighteen-month year old son, who is curiously learning
One event from American history that I wish to have experienced would be the opening night of Carnegie Hall in 1891. Carnegie Hall has been important in the development of American History; it is one of the most significant venues for classical as well as popular music in America. Musicians from all around the world come to Carnegie Hall to perform for its renowned acoustics and beauty. This exquisite concert hall, drawing the world’s greatest artists, has set the guidelines for excellence in music since it opened in 1891. It was Andrew Carnegie, himself, who said, “It is built to stand for ages, and during these ages it is probable that this Hall will intertwine itself with the history of our country.”
The Ohio Wesleyan Symphonic Wind Ensemble performed on Sunday, November 13th at 3:15pm in University Hall’s Gray Chapel. The audience was mostly non-student in casual dress. Attendance was high, which showed promise for the upcoming performance. President Rock Jones was in attendance, as well as many other faculty members. The stage setup was typical for a wind ensemble, in terms of placements of various sections.
This summary contains two videos that will be analyzed in the next section: In the first video the composer Hector Berlioz is mentioned as well as his Symphony Fantastique. The symphony was inspired on the legend of Faust; it tells the story of a man that sold his soul to the devil in return for both knowledge and earthly pleasure. At the 7:00 mark “La traviata” is mentioned, which was an opera that talked about a love affair climaxing in a tragic death. The composer of this piece was Giuseppe Verdi, but it was not the only opera he composed, in fact they were 28 operas starting with Nabucco (1842) and ending up with Falstaff (1893) a half a century later.