Zhang Zhou Yaodong Professor Greg Peterson Classical styles and romantic spirits 2 November 2016 Richard Strauss Violin Sonata Richard Strauss (1864-1949), was a leading German composer and conductor. His orchestral compositions and operas have made him one of the best known composers of the late Romantic and early modern eras. While Strauss did not pay much attention to his chamber music in his later life, in earlier years he tried to compose several different types of chamber works such as a string quartet, two piano trios, a piano quartet and several instrumental sonatas. Now I will introduce his last work of chamber music, the violin sonata. At the age of 23, Strauss composed
His vocal and instrumental music for court ballets gradually made him indispensable. In 1660 and 1662 he collaborated on court performances of Francesco Cavalli Xerse and Ercole amante. When Louis XIV took over the power of government in 1661, he named Lully superintendent of the royal music and music master of the royal family. Lully's music was known for its power, liveliness in its fast movements and its deep emotional character in its slower movements. Some of his most popular works are his passacailles (passacaglias) and chaconnes, which are dance movements found in many of his works such as Armide or Phaëton..
2 in D Major TWV 40:120 Spirituoso composed by G.P Telemann. You can definitely tell that this piece was composed in the baroque era. You can hear the elaborated musical ornamentation throughout the piece and the canon technique of both flutes in a major scale. The sound of this piece sounds jolly and yet adventurous with its steady consonant tempo and trills. This by far was one of the shortest pieces that I heard throughout the evening and yet
It expanded the orchestra, providing the depth on timbre. Especially in the middle of the century, with the domination of the German influences, their own-country-styled-music was started to discover by composers of the other country from Germany. The investigation evaluates how this nationalistic movements was influenced musical elements of this period. I have chosen to investigate two Romantic pieces, L’Arlesienne by Bizet and Symphony No.2 by Tchaikovsky. The both music I chose is the music that I have played in orchestra by violin before.
The score brims with historical allusions to works of Mendelssohn, Chopin, Brahms, and Johann Strauss Jr. The work also prompted others to explore the new musical landscapes. After hearing “Pierrot” in December 1912, Stravinsky composed the eccentric second and third movements of his Three Japanese Lyrics for a similar ensemble; Stravinsky’s astonished descriptions of “Pierrot” one month later inspired Ravel to write his ”Three Poems of Stéphane
Born in Prague, Antoine (Antonín) Reicha (Rejcha) (1770-1836), an influential composer, theorist, and teacher, plays a major role in the scope of the music theory in Western music in the early nineteenth century. His treatises on different aspects of composition paved the way for experimental methods of compositional theory, which he applied in various works, such as piano études and fugues, string quartets, and wind quintets. Studied with Albrechtsberger and Salieri, he was a childhood friend of Beethoven. Later, He became the professor of counterpoint and fugue at the Paris Conservatory in 1818. As Baker (1992) indicated: “Granted he was a better composer than most theorists, but his writings are by far his most significant contribution.
Composed in 1801 and published in 1802 in Vienna as opus 28, "Grande Sonate pour le pianoforte", the nickname "Pastorale" was given quite late, towards 1838, by the Hamburg based publisher Cranz, the same who named the Sonata opus 57 "Appassionata". Carl Czerny reports that the composer said to his friend Krumpholz: "I am not satisfied with what I composed until now. I will go now to other directions." Yet, still after Czerny, the Andante of the Pastorale Sonata, was one of the composer's favorites, he played it quite often and re-published it in a shortened and fingered version in 1820 in a "Methode pour le pianoforte". Critics at the Allgemeine Musikalische Zeitung wrote on December 8, 1802, that the first and third movements are "original and even
0 Jean Gremillon, the composer Film critics and historians have long thought of Jean Gremillon as one of the most musical filmmakers. They have emphasized Gremillon 's distinctive use of music and the meticously constructed soundtrack of some of his films. They have also stressed the fact that Gremillon was a musician before becoming a film director. Born in 1901, Bayeux of Normandy, Gremillon came up to Paris in 1920 and studied composition at the Schola Cantorum. His first contact with films came when he played the violin in a small orchstra that accampanied silent pictures.
Just as a dance reflects the ideas of a choreographer and a painting provides an image of an artist’s imagination, music is influenced by the life of a composer. The support Mozart received as a child prodigy pushed him to pursue a musical career while the poor reception of Rachmaninoff’s “First Symphony” discouraged him from producing more works (Myers n.p. ).
Beethoven was a German pianist composer and the predominant musical figure who bridged the classical and romantic eras. Born into a musical family, he received music education from his father and grandfather at an early age. Beethoven’s career and works were categorized into three periods. Works from his early period (1781 to 1802) showed heavy influences of the classical forms and techniques from the predecessors, Haydn and Mozart. However, he invented some new approaches to his composition such as expanded form, thick texture, extended harmonic relationship, wider range of the pitch and dynamic and imitation the sound of the orchestral instruments.