The three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery. 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. The second Romance, Einfach, innig (simply, heartfelt) features the violin and piano playing some of the most inward, vulnerable music in the parallel key of A major.
Continuing on, the phrase builds up to an E flat, followed by filler rests that set the stage for the second character to enter. It sings a C minor triad at a piano dynamic, finishing the phrase with a diminished 7th in the Mozart and a dominant 7th in the Beethoven. The unresolved chords allow for the reappearance of the first character, who belts out the melody with the same arpeggiated motif from before, but this time in the dominant major—G major. Once again, the quieter character follows, this time resolving the phrase to a C minor chord. As seen in these two pieces, Beethoven copied the notes and story told in Mozart’s sonata.
The Four Seasons is a group of four violin concertos, each representing a season of the year. Photographs of North Carolina’s state parks accompanied the piece. The poems that Vivaldi wrote to exemplify what the music intended to evoke was also shown. This is an example of program music. Program music is instrumental music where the composer wants you to hear a story.
In this case, with the sonorous and cantabile sounds of cello, the resonant Prelude from Bach’s Suite No. 1 in G major helps create a peaceful and uplifting tonal environment. By listening to the Prelude, I can’t help but begin to imagine people dressing elaborately, standing in the middle of the court, ready to
Composed in 1796 and published the next year by Artaria in Vienna, the Sonata N.4 in E-flat major opus 7, dedicated to the "Comtesse Babette de Keglevics", was named "Grande Sonate" by Beethoven himself. This is a clue, together with its single opus number and its being published alone, on how high it was esteemed by the composer. It is the second longest Sonata, after the Hammerklavier Opus 106, and lasts for more than half an hour. With this sonata, the entire piano style of Beethoven enters in what may be called the "Symphonic Piano". It is where the keyboard gets its new identity, abandons "old" idioms and starts to simulate an entire orchestra.
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. The piece comprise of many musical instrument particularly string, brass, and woodwinds. The composer also use repetition in composing as the first part is repeated at the end of the piece, but with more sophisticated dynamics and timbre. In my opinion, the piece by Richard Wagner is a very good example for the topic of Basic Musical Concept that introduce many essential parts like referential listeners and structure of
The melody of this song described as restlessly chromatic and undulating, a swaying Arabic-sounding tune. The melodic line is filled with emotion and oddly unbalanced consisting of seven alternating sections of held tones and movement. The harmony is added behind the melody is dissonant but simultaneously lush. The rhythm was played with in Ella’s version making the classic song her own giving the clarinet a smooth solo. The simple rhythm of the song has an AABA pattern it sticks too.
In Rubenstein’s interpretation of the Mazurka, we get a more cohesive journey than other comparable recordings, namely Vladimir Horowitz. This is due to the general sense of pulse that continues throughout the piece, yet is still ebbs and flows. When he takes time to bring attention to a specific chord, note, or resolution, it builds anticipation for the listener. In the symmetrical minor third progression, he speeds up as he reaches the pinnacle of the passage which propels not only the rhythm, but the harmony as well upwards and upwards, making me wonder when it will come crashing down in beautiful dark wet flames. As for the octet, this recording was slightly less rubato than others that I have listened to.
III, mm. 70-77 This moment creates an animated texture that displays the overall climax of this work. At the beginning of B section of the trio, Françaix returns to the piano dynamic while maintaining the light playful style. In the conclusion of the B section of the trio, it quickly returns to the A section as stated before. The extreme dynamic relationship between the A and B sections of the trio provide this work with its overall lighthearted witty character.
The entire mood of the piece seemed to change at this point. Then the melody reverted back to a slow peaceful melody. This time a violin was played along with the piano. The pattern was repeated until there was a moment of silence which transitioned into the second movement. The slow and soothing voice of the choir started the second movement with the piano and violin.