A review of a recording of the finale (4th movement) of Haydn’s String Quartet Op. 33 No. 2
The recording of the finale (4th movement) of Haydn’s String Quartet Op.33 No.2 that I have decided to review for you today is performed by the ‘Ariel Quartet’. This performance has a strong sense of togetherness and the performers give a sense of enjoyment through the performance.
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. He used Rondo form also which had not been used before this by Haydn. The rondo finales matched the light and playful character of the whole piece. The nickname The Joke was given because of the obscure rests at the end of its rondo finale. The six quartets of Op.33 were first played on the 25th of December, 1781 in Vienna for the Grand Duke of Russia, which so lead the nickname, the ‘Russian’ Quartets.
The Ariel Quartet were formed in Israel but moved to America in 2004 to continue their professional studies. The Ariel Quartet has won many professional prizes in
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The ambiguous sounds of the middle, give an uneasy feeling of impatient monotony, while the concluding movement is in a revelatory and joyous mood with occasional clashings of dissonance and jazzy inflections. The two Serious Little Pieces are charming miniatures: the first, a swift pointilistic whirlwind, the second, a slow waltz. Scored for wind quintet with baritone saxophone, a rustic sound is
Franz Joseph Haydn great composer during the Classical period and was highly influenced by the Strum und Drang movement. During this time the Strum und Drang movement invented a new approach composer were taking to composing music, for the first time composers were focusing on free expression and implemented strong emotions into their works. Joseph Haydn’s most important contribution to German music was his major work the Emperor Quartet, this composition used over ninety string quartets and was latter renamed Song of Germany and adopted as the German national anthem. Haydn was employed by nobility and
I listened carefully to what Andrea Bayer, Elaine Sisman, Sheena Wagstaff and Leon Botstein had to say about Schoenberg and I understood exactly what they meant. I recall an Andy Warhol joke was made with Schoenberg and I laughed along with those in the audience that laughed because I had the knowledge of Schoenberg and Warhol to understand the reference. When the discussion moved onto Mozart and his Great Mass in C Minor, I vividly understood the breakdown of the mass; Kyrie, Gloria, Credo, Sanctus and Benedictus. As the panel discussed the Agnus Dei was missing in Mozart’s piece, I was able to follow the conversation rather than ignorantly watch musical professionals’ converse about music. The panel discussion was also a great learning experience as I learned this mass was written as Mozart’s declaration of love to his soon to be wife Constanze and to improve his relationship with his father, who opposed the
Composers have the ability to influence how we the audience views and responds to characters and issues. Through viewing and analysing ‘The Shoe Horn Sonata’ by John Misto and ‘Saving Private Ryan’ directed by Steven Spielberg, it is obvious that composers have the ability to impact and influence our views on characters and issues that occur. Shoe Horn Sonata and Saving Private Ryan were set in the same context of World War 2. John Misto’s Shoe Horn Sonata takes place during the war against Japan, the play focus on the lives of two women Bridie and Sheila who have been captured by the Japanese to become (POW) prisoners of war. John Misto’s play was based on real accounts from POWs, the play was to commemorate the female POWS who story was unheard of and to give an insight to the audience into what the POWs had to endure while under the japanese rule.
Damrosch enters the stage and the hall erupts in applause. He about to lead the Symphony in playing “America” and Beethoven’s Leonore Overture No. 3. He bows, raises his baton, and the music starts. The acoustics were even better than I could imagine. After the two songs, Damrosch exits and Pyotr Ilyich Tchaikovsky enters.
It is varied with the addition of the woodwind instruments in the offbeat. The next variation is played in measure 44 with rhythmic expansion of the theme to half and quarter notes. A new melody, played by the oboe and clarinet, is introduced in measure 76 but
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
The piece ended very loudly and intensely with a extremely quick tempo. I have thoroughly enjoy this performance by the San Francisco Symphony Youth Orchestra, conducted by Christian Reif. Every aspect of the performance, from the intonations to the style, was executed flawlessly. Before this concert, I expected the quality of this performance to be worse than other concerts that I have attended to because it is a youth orchestra, but they have surprised me and proved me wrong. The orchestra played like a professional adult orchestra, and it was even one of the best orchestra performances that I have been
Schumann Three Romances, Op. 94 Schumann’s Op. 94 Romances were composed in 1849, during a time when his mental health was deteriorating rapidly. Originally written for the oboe, the first performance featuring the violin and piano was given by Clara Schumann and François Schubert in a private concert. 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.
• He was born on 22 January 1904 in St. Petersburg, Russia. • The son of a composer, Balanchine studied piano from the age of five and had a robust understanding of music. • In 1914 he was accepted by the Imperial Ballet School in St. Petersburg at the age of 9.
Another composer who played an important role in the development of the Symphony is no other than Joseph Haydn, the ‘Father of Symphony’. One of his works, Symphony no. 92 in G Major, Hob I:92, composed in 1789, will be reviewed. “Oxford” Symphony was commissioned by Count d’Ogny for the Loge Olympique Concerts in Paris. It is known as “Oxford” because Haydn presented this symphony at the Sheldonian Theater at Oxford University in July 1791, where he was awarded a honorary doctorate degree. This symphony displays Haydn’s mature style of composition, presenting his capability to utilize thematic development, counterpoint and a mixture of distinctive moods.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. 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.
Evocative of much of the work he composed during his younger years Wolfgang Amadeus Mozart’s Symphony No. 29 is a testament to his genius and mastery of classical musical forms. Written when he was just eighteen years old the composition is a concise and peculiar example of classical Sonata form. Instead of having an introduction before the exposition Mozart ops to present the primary theme of the piece’s Allegro movement at the start of the first downbeat. Exceptionally melodic the primary theme of the movement start with an authoritative leap of an octave in the violins.