Beethoven And Mozart Comparison Essay

Haydn's parents had noticed that their son was musically gifted. When Haydn turned six, they accepted a proposal from their relative Johann Matthias Frank, a schoolmaster. Haydn was sent off with Frank to Hainburg never again to live with his parents. Life in the Frank household was not easy for Haydn. He began his musical training there, and could soon play

The next 15 years played a big role in making Haydn more famous. In 1775, Haydn composed and played his first Oratorio, for the Society Of Musicians in Vienna, called ‘II Ritorno Di Tobia’. Nine years later, Haydn revised Tobia for another Viennese performance, within the revision he add more pieces to it and cut some of the dacapo structures out of it. Haydn 's personal home life did not related to one another. Haydn 's wife (Maria Ann Keller) in which he married in 1760, didn 't understand or like his musical works.

Not only are the interactions between the characters identical, the notes of Beethoven’s sonata also reflect the notes in Mozart’s. The two pieces begin with a forte C minor chord, establishing the bold and powerful tone of the first character. The notes of the first two measures are meant to jump from one to the next with a strong, downward motion on the piano keys. This kind of motion creates the anger that can be heard in the music. Continuing on, the phrase builds up to an E flat, followed by filler rests that set the stage for the second character to enter.

In C major, like a side part of the first part, it sounds somehow especially light and joyful. Despite this difference, Andante themes have similarities in common. They are united by melodic similarity, characteristic "invocatory" principle, dotted rhythm. Next go alternately the first and second themes. In variations on the first topic, mainly the texture of the presentation changes.

A characteristic that is typical of Chopin is embellishing the melody when it returns. These embellishments are also vocal like and incorporate the use of thrills, scales and

The piece comprise of many musical instrument particularly string, brass, and woodwinds. The composer also use repetition in composing as the first part is repeated at the end of the piece, but with more sophisticated dynamics and timbre. In my opinion, the piece by Richard Wagner is a very good example for the topic of Basic Musical Concept that introduce many essential parts like referential listeners and structure of

While studying the genius of Wagner, he attended the Bayreuth Festival for the first time in 1882. He would debut there as a conductor with his Opera “Guntram” in 1894. Strauss would eventually would soon free himself from his father’s influence when he met Alexander Ritter, a composer, violinist, and the husband of one of the nieces of Richard Wagner. Soon, Strauss left his father’s conservative writing style and began writing symphonic tone poems. Strauss’ friendship with Alexander Ritter would lead to “the key reason to my future development.”

The analogy between the theme of the first movement: Molto allegro e con brio and the one in Mozart's C minor sonata K 457 is widely known and discussed. However, in Beethoven, we have this unique dialogue between voices and fragments, where phrases oppose to one other, conflict and start again in different

The dynamics for “Caravan” is mostly mezzo forte, and there does include sections of the song where the trumpet builds up and is full forte. The Tempo of this song is 118 BPM metronomes and in the key of C Major. A soundscape of unprecedented exoticism is the texture of this piece that invokes feral

In Rubenstein’s interpretation of the Mazurka, we get a more cohesive journey than other comparable recordings, namely Vladimir Horowitz. This is due to the general sense of pulse that continues throughout the piece, yet is still ebbs and flows. When he takes time to bring attention to a specific chord, note, or resolution, it builds anticipation for the listener. In the symmetrical minor third progression, he speeds up as he reaches the pinnacle of the passage which propels not only the rhythm, but the harmony as well upwards and upwards, making me wonder when it will come crashing down in beautiful dark wet flames.

Secondly, Staryhorn’s work often contained greater tenderness. As the saying of bassist Aaron Bell, a one time Ellingtonian, “There’s so much more sensitivity and complexity in Strayhorn’s composition than Ellington’s”. The lyrics of “Lush Life” demonstrated the born sensitivity of the song writer. They created a worldly despair so vivid and touching that it was hard to believe that the song was written by a 16-year-old teenager. Being a trio-minority-African American, gay, and open about his sexual orientation, Strayhorn lived under pressure and had his own

During his time in the United States, he would still compose multiple pieces, including my focus piece, Carnival Overture. Four years later though, he would move back to the Austrian Empire because he was homesick. His final years were very peaceful in the Austrian Empire. He would mainly compose operas at that time.

Once done with training with Prentz, Pachelbel basically fell off the map and went undocumented until he moved to Vienna in 1673. In Vienna, Pachelbel obtained a job as an organist for the Saint Stephen Cathedral, he also continued to study Italian catholic music. In 1677, Pachelbel moved to Eisenach, and made a friend named Johann Ambrosius and educated his children on the art of music. Pachelbel didn 't stay there long, the next year he got a job in Erfurt and as the organist of 'Predigerkirche '. Pachelbel 's friendship with Ambrosius continued and Pachelbel was later named godfather of Ambrosius 's daughter.

Many different types of bells were used in this piece. This song seemed much shorter as well. The final piece that I really liked was called “Joy to the World.” This piece I really liked because it had a soloist that had a beautiful voice.

The embouchure is the muscles and position of the lips that help to play an instrument. Range The clarinet is capable of going much lower than the alto saxophone. The alto saxophone does not have the capability of playing most of the written pitches in the lowest register of the clarinet — the chalumeau register.