Symphony 8 Fifth Symphony Analysis

This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful

Whereas in Beethoven’s Symphony No. 5, the symphony begins and ends with the same theme, and the variations (also a total of four) are just there to fill in the gap.

This symphony is also called the Fate Symphony which Beethoven explained by sayng that it was how fate knocks at the door, which is heard by the famous four note motif heard in various was through out the entire symphony. It was also written when Beethove started to go deaf and was entering depression as he wouldn’t be able to hear the music that he composed, the fourth movement ends triumphantly showing that he has overcome his lack of hearing and that he has just finished composing an entire symphony without his full hearing

The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).

The third movement, was similar to the first, but more very conversational. The fourth movement was loud, fast, and serious all in one. No one was smiling, it was like the end of the battle. At the end of the performance Mrs.Orth acknowledge each section and made them stand up and take bow, next she made the whole orchestra stand up several times, and take several bows. While the audience gave them a standing

Beethoven 's 9th Symphony "Ode to Joy" Movement IV belongs to the Classical period of music. The visual aspect plays a major part in the video and draws the viewer in. The set-up of the instruments consists of ; cellos, double bass, violins, violas,contrabassoon,piccolos,flutes,clarinets,horns,trumpets,trombones,timpani,bass drum,triangle,cymbals. The Symphony also features a choir. The emotion and body language of the conductor sets the mood for the scene.

The work displayed Beethoven’s middle period compositional style that shows great advance in terms of musical and writing style for the violin. Overall, the 2nd movement was well-proportioned. Occasionally, the piano part is more complex than the violin part however the principal theme is shared between the Violin and Piano. Max Bruch Violin Concerto in G minor

It remains quite repetitive until the end of the piece. “Entry of the Gods into Valhalla” is a piece of art that is performed in an instrumental fashion by an orchestra. Listening to this song reminded me of someone enjoy a day, and suddenly something goes wrong which inflicts a sense of fear. The music was quite soothing in the beginning, but towards the end began to put listeners on edge by the eerie sounds being produced. I think this was a great choice for the opening piece because it captured the listener’s attention.

Concertino for flute and piano, Op.107 Cécile Chaminade (1857-1944) Cécile Chaminade (1857-1944) was a French composer and pianist. Her mother, a pianist and singer, provided young Cecile with her earliest musical instruction, who at a later age began to experiment in composition. Her father’s disagreement prevented her from attending the Paris Conservatoire, so instead she studied privately with members of its faculty, which included Benjamin Godard. She started composing music at the age of 8 and performed abroad at the age of 16. Chaminade became a successful composer and concert pianist in the early 1900s, with a tremendous popularity in the United States and was one of the first French female professional composers.

This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. 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.

All the three works of group three extend the novelties of group two. “Ecco mormorar” and “S’andasse Amor” adventure the florid writing in them, while “Memtr’io mirava” shares its move to distant harmonic areas. However, there are two traits that are very difficult to define that unite these madrigals; one is an ability to bring to music the syntactic and meaning organization of text and a structural coherence of a rigor which is unknown to Monteverdi’s earlier works. All the listed characteristics and especially the last one, are exemplified in the “Ecco mormorar l’onde” which happens to be Monteverdi’s most famous madrigal of the second madrigal books. The texts of “Ecco mormorar l’onde” is a fourteen-line that illustrates the pastoral dawn, a sort of landscape poetry in which Tasso shined .

Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.

1.4) underwent several thematic transformations in this movement, first being treated in rising sequences. The ‘antagonist’ leaping figures (see fig.1.4) outline accents on weak beat, giving the whole section a sense of metrical disruption. The second theme appeared in B-Flat major, followed by a closing

First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.

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).