Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 The instruments heard throughout the concerto are violins, violas, a cello, a bass, an oboe, a recorder, a keyed trumpet, and a harpsichord. The first movement begins at a quick tempo. Sixteenth notes are played constantly and are passed around the different instruments. Throughout the sixteenth not passages or mordents and other embellishments.
Johann Sebastian Bach Violin Sonata in A minor BWV 1003 (1720) Greatest German composer of all time, Johann Sebastian was born in a musical family in Eisenach. He received his musical training from his father Johann Ambrosius and relatives. Besides being a highly respected organist, Bach’s compositions were also greatly recognized and became the musical model for other famed composers after his time such as Mozart, Beethoven and Mendelssohn. The Sonata in A minor is one of the works in Bach’s six unaccompanied violin sonatas and partitas.
The Low tubas and bassoons, continues playing the chant in long even notes, with bells accompanying, Higher horns and trumpets also continue playing the chant, but in a faster tempo and the high woodwinds continuing the chant in a fast dance tempo (Kamien, 2014: 298). Berlioz thus dared to parody a sacred chant by altering it into an insignificant melody, as he had previously done just a few bars earlier with the Idée fixe and therefore Berlioz conveys the insanity of a witches dance in a fugue-like section (Kamien, 2014: 297). There are violin syncopations, with piccolo and altered strings between the dynamics forte and piano to the repeated chords. The Witches’ dance is introduced in woodwinds and imitated with low strings and violins (Kamien, 2014: 298). The brass section of the orchestra plays rapid chords in fortissimo that are repeatedly answered by descending high woodwind section that descends to pizzicato in the cello and bass section of the orchestra.
The generic name of the piece is Trio, Op. 87 Finale: Presto. This piece was played by three musicians with the following instruments: an oboe, clarinet, and English horn. This piece was fast paced and in a homophonic style. The abrupt silence in between the themes seemed to build a form of climax to the piece.
He has composed 9 symphonies, 5 concertos for piano, 16 string quartets, 32 piano sonatas and some chamber works and choral music in his life. He lost his hearing due to suffering from a severe form of tinnitus (a ringing sound appeared in his ear made him difficult to listen) by his age of 26. Yet, his composing life did not come to a stop, he has composed lots of prominent works like Symphony no.9. He lived in Vienna until his death.
Shortly after George Gershwin’s premier of his iconic Rhapsody in Blue in 1924, a conductor named Walter Damrosch commissioned Gershwin to write a piano concerto that was based on a Classical concerto with orchestration. Like it’s rhapsodic cousin, this piece is a unique fusion of Classical and Jazz styles and is great fun to both play and listen to. Like the traditional concerto model from the 18th Century, this concerto was written in three movements in this order: fast, slow, fast. Another flashback to the past that is unconventionally evident in this concerto is “organicism,” which in music, means that all of the movements of a piece are thematically related.
Franz Joseph Haydn was a German composer whose life story is one of trials and triumphs. As Philip G. Downs states, Haydn was born “the oldest son of the twenty children from his father’s two marriages” (199). Obviously, he and his family faced severe poverty. In spite of that, at a very early age Haydn’s musical gifts were noticeable. “Not only was he a gifted instrumentalist and composer, he also had a fantastic singing voice” (145).
The second movement was a simple lullaby. Finally, the last movement I found the lifting tune which the soprano saxophone was played in a high volume and accompanied by a chorale played by the rest of the quartet that has been slightly distorted. The last music piece, which was written by Pierre Lantier, named Andante et Scherzetto made a great closing to the evening with a moderately soft sound. I was really impressed at the climactic end with a coherent melody which was made by the soprano saxophone.
The first movement, Allegro molto moderato, presents a confident minor-mode theme, the outline of which is directly related to following, themes that were more lyrical. The whole movement suggests an urgency that cleverly turns into the scherzo in the second movement, Allegro molto. This second movement is driven by a continual motion and rhythmic strength, but also echoes keynotes from the first movement. Adagio non troppo, is the third movement and at once is serene and unassertive, its extended lyrical lines in the viola alternate with gliding chords from the piano. In the final movement Allegro molto, the piano performs agile quickness, and the string melodies intertwine with each other, then merge in strong accord.
They were derived from: the suite; sonata and concerto grosso; Italian overtures, the “sinfonias”, that were played in the beginning of Italian opera. The “sinfonia” is also the origin of the term “symphony” (The Early History of the Symphony: Origins and Evoloving structure, 2013). The first symphonies were played by smaller orchestras consisting of twenty-five to thirty people; they were shorter in length – the duration generally lasting up to ten to twenty minutes; and they consisted of three movements. The three movements generally followed the form of “fast – slow- fast”. The first movement was generally referred to as “allegro”, the second movement “andante”, and the third and last movement was generally a dance e.g. minuet or a gigue.