Antonin Dvorak was a famous Czech composer who incorporated Bohemian styles into his own pieces. He put together various operas, concertos, and chamber pieces. Most importantly, the romantic composer orchestrated five well-known symphonies, including New World Symphony. Due to unclear notes that were uncovered after his death, many have hypothesized that this particular symphony could have been the fifth, eighth, or ninth. However, eventually it became known as his ninth symphony, and his last completed one.
Johannes Brahms (1833-1897) was a foremost nineteenth century composer. His works grew the Romantic repertoire: four symphonies, choral works including the German Requiem, many large and small ensemble works, piano and organ works, and folk song arrangements. The focus of this paper is on his impact on the clarinet repertoire. This paper begins with a brief biography, followed by a discussion of Mozart’s compositional influence on Brahms, next a brief history of the sonatas, then a stylistic analysis of his Sonata in F Minor No. 1, and finishing with Brahms’s influence on the clarinet.
23 (1807), Symphony No. 6 (1807-1808), Violin Concerto (1806), etc. All of these beautiful works composed by Beethoven are still remembered till this date. I like Beethoven for many reasons. One reason that I like Beethoven is how he had managed to compose his last symphony, even though he was deaf.
7”. In contrast to their previous song, this one had a gradually rising intensity with a rhythm section made up of a bass and bassoon. This song also has a lot of syncopation, with the violin often playing unexpected beats. The song had multiple melodies throughout its duration, each one having a different indexical connection for me. The song starts off as a lighthearted, almost old-time Disney like melody, then changes a fourth the way through to a crime drama melody.
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.
One sample is Beethoven's third symphony. Initially composed as a tribute to Napoleon Bonaparte, a man whom Beethoven respected for his political beliefs, Beethoven later tore up his page dedicated to him after Napoleon proclaimed himself dictator. Beethoven re-named his piece 'Brave Symphony, Composed to Celebrate the Memory of a Great Man.’ It is not everyday that a composer utterly changes how the world views music, but this is exactly what Beethoven did. Beethoven changed and advanced structures in music in many different ways, especially in his transition between the Classical and Romantic music periods. During this time, music was perceived as accessible and elegant.
In this case, John Adams uses quarter-tones among three violin parts from measures 85-104—see figures 2.1-2.3. The intention behind these quartertones is to create a rich dissonance. These quartertones are introduced as the chorus transitions from singing text to singing “ooo’s” as if to allow the orchestra to continue the story. This technique creates a unique quality of sound that further constitutes the sensation of loss. The aural score to “On The Transmigration of Souls by John Adams, describes the excerpt from 5:30 to 9:10 in the piece.
60), the list continues to build until Gretchen reaches a double forte with sforzando accent right before singing “Kuss”. The wheel stops and the singer is lost in her own thoughts. Accordingly, James Tarbotton stated that this moment allows, “Gretchen 's voice to shine through and all her emotions to be concentrated on the kiss she 's sharing with Faust; Almost as if her heart has stopped.” Then, very slowly, the spinning piano pattern of the wheel slowly begins before returning to its original rhythm. Taking a broader look at this piece, this song could either be called a loose ternary form or a rondo form. Some could consider this composition a loose ternary art song because of the returning theme after the third and sixth stanza.
Prelude to “Die Meistersinger von Nurnberg” – Richard Wagner The first piece played by the University Symphony Orchestra was a prelude to an opera by Richard Wagner. The instrumentation of the piece included flutes, oboes, clarinets, violins, bassoons, French horns, trumpets, viola, trombone, tuba, harp, timpani, bass, and the cello. To me, the piece sounded like it was in quadruple meter. The piece had a very dramatic start with a quick tempo and forte dynamics. The tempo remained fairly quick throughout the performance at about allegretto, but it did occasionally slow down to moderato.
The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone. The first movement of the Swan Lake Suite, Scene, which began with the violins playing with an oboe solo on top. The oboe was playing various crescendos and decrescendos at a mezzo piano dynamic and the tempo was moderate. This ends with the high woodwinds playing a string of the melody, passing it to the low brass with the strings very quietly in the background and then what seemed to be a diminuendo. The second movement of the Swan Lake