III) RECAPITULATION • In the recapitulation, much of the earlier music returns, with the exception of some passages that are omitted. • What happens in this particular Symphony during the recapitulation regarding the second theme is unique. Starting now in D Major, the second theme suddenly slips back into the expected tonic key in various sections (E.g. Bar 156) and then it even moves to the relative minor, as opposed to the -expected- parallel minor, rendering it rather peculiar in terms of tonal relations. • Following the full exposition of the second theme group, Brahms drives the movement to its conclusion through an extensive Coda, where the main theme together with its ‘complimentary’ motto-phrase, is given an immensely passionate utterance, until peacefully ending in F Major later.
Through the analysis of Brahms’ Symphony No.4, IV, Allegro energico e poassionato, and Strauss’ Don Quixote, Themes and Variations, 1-2, I have concluded that programmatic should be valued not on the program but the craftsmanship. For a long time, music aesthetics were focused on the role of emotion in music instead of the music itself.
Symphony No. 5 begins with the Allegro con brio (first movement), then the Andante con moto (second movement), Allegro (the third movement), and to conclude is another allegro. In Haydn’s No 94 symphony, there are also four movements, but geared in a different direction. To start with the symphony, movement one starts very fast, or can be defined as vivace assai. Movement two takes on a very slow tempo.
In the piece that was performed by The Vienna Philharmonic, symphony No. 9 in E minor “from the new world”, it had four movements. In the first movement, it was a sonata-allegro form that included and introduction, exposition, recapitulation, and a coda. There were two themes in the first movement and several tempo changes and transitions. There were also variations in the theme and had different instruments play the theme at different times, but the full orchestra finished the movement
The best part of the book for me is the author’s analysis of Beethoven’s ninth symphony, which is more than any study of music. Harvey Sachs is a fairly powerful who opened up Beethoven’s world to me, and also opened up the world of Europe, especially romantic ideas. Sachs in weaving political landscape, the influence of the French revolution, and the reaction to its absolute and caused the damage of napolenon did a good job, and then put all these into artistic vision. The author tries to review the German scene. We know about his activities, as well as his contemporary composers and the music critics.
A few fast solos and a few slow ones followed. The last piece of the performance was Symphony No. 6 in B minor, Opus 54, written by Dmitri Shostakovich. This piece also has three movements, and they are Largo, Allegro, and Presto. The piece starts off with a homophonic texture, followed by several changes in tempo and dynamics.
Both had rough times in their lifetimes and instead of letting these problems bringing them down they continued to write compositions and create amazing works. Their works changed through their careers and they used many different techniques to keep their compositions up to their standards and interests. Beethoven and Brahms influenced many composers years after their deaths and their works continue to be studied to this day. Ludwig van Beethoven Ludwig van Beethoven was a German composer during the classical period. He wrote 9 symphonies, 1 opera, 32 piano sonatas, 5 piano concertos and many other works.
Introduction Johanne Brahms was a pianist/ composer who was born on May 7th, 1833, but passed away on April 1897. He was originally from Hamburg in Germany. He composed symphonies, chamber music, piano works, choral compositions and so on. He used sonata style in the second half of the 19th century, and inspired other major idol of classical music such as Mozart and Beethoven. Brahms was very into his romantic era in the 19th century and was the leading musician.
Many similarities occur between the Exposition and Recapitulation. However, depending on the musical piece, these two topics also have differences. In Beethoven’s Symphony No. 2 (in D Major, Opus 36/I), the first theme group in the Exposition lasts from measures thirty-three to fifty-seven, whereas the first theme group in the Recapitulation lasts from measures two hundred and sixteen to two hundred and twenty-eight. In the Exposition, the transition begins in measure fifty-eight, continuing to measure seventy-two.
• Music: • Music was composed by Igor Stravinsky • The composer contributed to the libretto. • Violinist was Marcel Darrieux • The score of Apollon Musagète is written for strings only and is consistently classical in style: dry harmonies, an abundance of perfect chords, rare polytonal superimposition. Those are borrowed from the past (from Lully and Delibes), but divested of all historical reference to achieve an abstract purity. • Stravinsky began Apollo on 16 July 1927, and completed the score on 9 January 1928. He chose to make a ballet blanc, which he composed for a refined instrumental force, manifested as a string orchestra of 34 instrumentalists: 8 first violins, 8 second violins, 6 violas, 4 first cellos, 4 second cellos and 4 double basses • Stravinsky had centered Apollo music in Greek mythology.