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. Johannes Brahms was born on May 7, 1833, in Hamburg, Germany.
One reason that I like Beethoven is how he had managed to compose his last symphony, even though he was deaf. This just amazes and tells me how devoted to music Beethoven was. Music was Beethoven’s passion, and because of this, he is well-known in the world and is a very respected musician. Another reason I like Beethoven is that all of these works that he composed and performed, sound magnificent and just beautiful to me. Beethoven’s main music style was classical.
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.
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.
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. However, if we were to take a literal definition of ternary form, we could disagree by stating that the returning theme does not come back in a related key.
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 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
The third movement, Scherzo: Allegro molto, started out urgent and quick, with a melody being passed around the woodwinds. The lower brass had large heavy moments which were quickly followed by frantic interjecting crazy moments and then the piece ended with this jaunty theme and obsessive and frantic tune. The final movement, Finale con epilogo fugato: Allegro molto, started with a quiet melody which quickly grew frantic yet controlled. It descended into a suspense and anticipation, and the excitement grew into a battle between the cheerful violins and the dramatic brass.
this caused the ball to move as the pianist played giving it a different sound. These changes were exciting and intriguing, I loved this twist. The last act was an Opera Buffa, a comic opera, called Prix Fixe, composed by Kevin Wilt. This opera was beautiful and simple with one mezzo-soprano soloist and a concerto accompaniment. The opera was interactive with the audience and commedical.
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. Remarkably, the leading position vocal in this song also illustrated the change of focus from band to vocalist in the late Swing era.
Mimi Dye performed Harold in Italy, Symphony in Four Parts with Viola Obbligato, Op.16 by Hector Berlioz. A famous violinist wants Berlioz to write a concerto to enable him to show off his new instrument, and then Berlioz began writing “a solo for viola, but one which involved the orchestra in such way as not to reduce the effectiveness of the orchestral composition.” There are four movements in this symphony. The first one is titled “Harold in the mountains”. With low-pitch sound and short duration provided by horns, cellos, and trombones, the music creates a deep melody, from which I can image that someone is trying to escape in nature.
Jingle Bells was played at an Allegro tempo and articulated the sweet sound that comes from the whole band creating a swing beat to match a nostalgic preference of Christmas being so close. The Flute Trio expressed their excellence in soothing music from their selection Silent Night played at an Andante tempo. Their other song Carol of the Bells played at a Moderato tempo and was quite lively with each player playing different tunes all at the same time. The song selections were perfect for the theme and they had a familiar