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
He gave up studying law to take on a career as a virtuoso pianist, but a hand injury prevented him to pursue his dream to become the finest pianist in Europe. He then invested all his time and effort to compose. Schumann at first composed solely for piano until 1840, after which he composed for piano and orchestra in his later years. His works included: four symphonies, many Lieder, an opera, concerto and other choral, chamber and orchestral works. Schumann 's remarkable skill to express delicate and profound emotions is evident in works such as his collection of short piano pieces, Phantasiestücke (Fantastic Pieces) and in the song cycle Dichterliebe.
Each section is further subdivided. The first section introduces the motif, which includes fast, slightly detached and energetic chords. The motif comes back slightly modified within a couple of bars’ time. The second section modulates to the key of B major which is divided into two more subsections, which is extremely different from the loud, energetic and almost violent start. However, here too the key changes momentarily in D-sharp minor.
Exceptionally melodic the primary theme of the movement start with an authoritative leap of an octave in the violins. 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.
Jakob Ludwig Felix Mendelssohn Batholdy (more commonly as Felix Mendelssohn) was born in Germany on February 3, 1809. He was a composer, pianist and organist during the early Romantic period. He was born into a prominent Jewish family, but he was later baptized as a Reformed Christian. Early on in his life, Mendelssohn was distinguished as a musical prodigy. He was deeply influenced by Johann Sebastian Bach, reflected within his fugues and chorales.
The length of this movement itself (691 measures) is as long as a whole symphony in the previous generation and it is what made this movement ‘heroic’. Beethoven treated the main melody in this movement like a character in a drama. Beethoven started an unusual trend in the exposition by letting the cello play the pastoral theme which outlines an E-flat major triad. The triple meter is another bizarre trait, yet when it’s combined with the tempo of this movement; it reminds the listener of Deutsche peasant dance. The primary theme (see fig.
Song Title: So What Artist: Miles Davis (Music writer) The music starts with Piano sound and little bit guitar sound in the background. Then these both sounds are overtaken by dramatic start of saxophone music. Saxophone melody is the major melody in this composition and it is the melody which is questioning or exclaiming “So what”. The music picks up speed with the engagement of all three type of instruments. After 5 minutes piano music takes over as major music.
From research I have learned a lot about the background of this piece and about Haydn himself. Joseph Haydn wrote music for patron Nikolaus Esterhazy but also wrote pieces and works for sale to the general public. He composed six quartets of Op.33 in the summer and autumn of 1781 for the Viennese publisher Artaria. Haydn said in a letter to Artaria that the quartets were ‘a new and entirely special kind’. A new feature that Haydn included in this quartet was naming the minuet movement in each quartet Scherzo meaning ‘joke’ in Italian.
The humming C-natural note is sung suddenly after the exactly the sam pitch. The player starts to practice from mm. thirty-seven to the mm. thirty-eight without the lower voice in the second mm. To keep an accurate intonation before adding the lower
The melodies in The Magic Flute always linger on hours after I have listened to them. What is more, the conductor of the version I listened to, Riccardo Muti and the Wiener Philharmoniker excellently executed performance of this beautiful,masterful work. Lastly, The Magic Flute contains one of my favourite arias ever written because of how dramatic it is but more importantly how technically demanding it is and it is none other than the famous Queen of the Night aria (translated to English), ‘Hell’s Vengeance Boils In My Heart’ and specifically the version sung by Edita
In mm. 11-12, the vocal imitates the piano but with changes in the register resulting a change in the contour (fig. 17). A higher pitch with a longer duration (F5) on the word Schmerz (“pain“) give special importance to the word, and a minor 9th leaps from Bb3 to B4 followed by a diminished 5th leaps from B4 to F5 bring about an additional emphasis (fig. 17).While the left hand part of the piano plays a descending line, the right hand part provides a contrast by playing an ascending line until it hits the highest pitch Eb7 in m. 12 (fig.
It started out with a very strong march played at a fast tempo, and at a mezzo forte. The melody within the march was disjunct as it bounced up and down from note to note. It then went into a slow section that sounded ominous, with the brass playing in a minor key, and the woodwinds playing the harmony below that. The song played the march again, then played an accented version of the march for a few phrases. The song ended abruptly within the
By contrast, Strayhorn was classically trained and well-versed in classical harmony and repertoire by the time he met Ellington. For Strayhorn, melodic and harmonic development was most important. His famous song “Lush life” illustrated the composer’s early style. The whole song had a quite slow tempo, and vocal part was exaggerated. The chord progression of the piano accompanied the vocal which drifted smoothly up and down with the change of emotion, while the percussion and string sections were presented softly in the background.