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.
However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end. 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.
Webern- Five pieces for Orchestra, Op. 10 3: Very Slow And Extremely Calm There is the use of flats in this piece it makes it sound unpleasant to me. It give off a sense of suspense and anticipation. The way that to harp is being played creates the mood of the
Towards the end, Prokofiev presented the unbreakable melancholy mood of the pieces while presenting a series of brief themes in between. 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.
Exceptionally melodic the primary theme of the movement start with an authoritative leap of an octave in the violins. 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.
It is the music which is giving a feel of mysteriousness at start but becomes a pleasant happening melody after four minutes. Saxophone sound along with piano takes rounds of different melodies. Some are high pitched and some are low pitched. The mix of high and low pitches make it an interesting piece of music. Song Title: My favorite Things Artist: John Coltrane The song starts with drums and piano in background and the saxophone enters with happening melody like something interesting is being told in the form of story.
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. You can easily compare Mozart to the likenesses of Beethoven, Bach, and Haydn, but
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. Henri Dutilleux, Sonatine for Flute and Piano Henri Dutilleux (1916–2013) French composer was appointed professor of composition at the École Normale de Musique in 1961, and at Paris conservatoire in 1970.
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.
These songs were comicial with a refreshing twist. 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.