Ritornello Essays

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

Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 The instruments heard throughout the concerto are violins, violas, a cello, a bass, an oboe, a recorder, a keyed trumpet, and a harpsichord. The first movement begins at a quick tempo. Sixteenth notes are played constantly and are passed around the different instruments. Throughout the sixteenth not passages or mordents and other embellishments. The keyed trumpet plays lip trills rather than p laying fingered trills. The phrases of the first

compositions of Handel and Bach, Messiah and Wachet Auf, both have a religious context and include the ritornello technique. As for the texture of these compositions, both are characterized by a polyphonic and imitative texture. Additionally, string instruments are used in Messiah and Wachet Auf. Handel is famous for his English oratorio Messiah, which has three parts and begins with a string ritornello. It gives the listener a sense of calmness in that there is not much action or excitement. The aria

The form seen in both of these songs is ritornello form, which is a form commonly seen in Baroque music. In jazz music, the beginning melody is referred to as the ‘head’ while the opening idea in ritornello form resembles this stage in the music. In ritornello form, this opening melody is returned to throughout the song in different keys with new ideas in between them, and ritornello form normally ends with the opening statement.(2) Similarly, in jazz the 'head

The Baroque period was identified as the “Age of Absolutism” because it was a period where rulers practiced their full power to control subjects. Also during the Baroque time frame music became more leant about where it was played. Instead it only being played at churches and occasionally in some courts, it was being played at specific functions and operas. It was at this time that operas were established for the first time in history. Musicians at this time were employed for aristocrat’s courts

In "The Blasphemy of Talking Politics during Bach Year," Susan McClary characterizes Bach 's Brandenburg Concerto No.5 as a radical display of the rise of the middle class in the 18th century and the tenuous relationship between social harmony and upward mobility. Central to this argument is McClary 's characterization of the harpsichord cadenza as an "unplanned" and unconstrained display of madness. McClary 's interpretation of the harpsichord cadenza as a "hijacking" by a deviant unconstrained

Concert Report Questionnaire: Symphonic Concert 1. Who was the composer(s) of the piece(s). The composer of the pieces performed last night was Frederic Chopin, and Johann Sebastian Bach. 2. In what time or style period were these pieces written? (Explain how you know by giving details about the various style period. i.e. Baroque, Classical, Romantic, Modern, etc.) Frederic Chopin was a romantic era composer, and you could tell that in the pieces performed due to the amount of harmony in his

Miranda McKellen: Good morning! My name is Miranda McKellen, and for you new listeners, this is the finest radio station where we talk about the greatest music! Today we have many special guests, starting with our first one: Tom Jenson. Tom has been on our station before, and he discusses musical links from two distinct musical cultures. Today Tom will be sharing the musical links that he has found between the cultures of German Baroque Music and American Cool Jazz. Good morning Tom! Tom Jensen:

movement three of the concerto “L 'estate” begins in monophony, with all of the instruments playing the same part, soon after the movement transitions to homophony. Third, the beginning of movement one of concerto three “L’autunno” or autumn represents ritornello form by continually returning back to a set of notes. Lastly, the end of the second movement of the concerto “L’inverno” exhibits Ritardando by slowing down at the end of the

Since the piece is so long, there are many themes and section s that are displayed. That being said, there are some common tones and groupings that repeat themselves. One key featured the piece uses is ritornellos and episodes. At first, this piece might not seem like a concerto, especially compared to those typical of western art music. The solo voice isn’t at all like the ones found in concertos like Vivaldi or Bach. There is much more expression in this

Gloria from Pope Marcellus Mass was composed by Palestrina as a sacred choral work performed purely in 6-part choirs including a soprano, an alto, two tenors, and a bass. Its texture is mixed mostly by homorhythmic and particular parts of polyphony. Compared to that of Cantata No.140 of Bach, its pure a cappella medium provides audience a deeper sense of holiness than 4-part choir with orchestra in the former. Beginning solely by an tenor singing in Latin with haunting echoes from the open space

George Gershwin: How He Influenced American Music Rhapsody in Blue is ringing in the ears of its listeners; it is quintessentially New York. The composer George Gershwin's distinctive style formed an unprecedented music genre with intensified sophistication from classical music from European legacy and a sense of casual blues elements from African American music. George Gershwin's compositions altered the American's perception of Jazz music by integrating classical music elements, producing a new

Antonio Lucio Vivaldi, an italian composer born in Venice, one of the most renown Baroque composers over in history. Mostly known for his many instrumental concertos composed mainly for the violin. Vivaldi was born on March 4, 1678 to Giovanni Battista Vivaldi and Camilla Calicchio. His father was originally a barber and became a professional violinist. Of the nine children in the family, Vivaldi was the only one who became a musician. Vivaldi was taught the violin by his father. Becoming a priest

Graduate Recital Program Notes: Charles Tomlinson Griffes, Poem for Flute and Orchestra Charles Griffes (1884-1920) was the director of music at the Hackley School in Tarrytown, NY from 1907–1920. He studied piano at a young age, to continue his education he moved to Berlin, where he studied piano, composition, and counterpoint at the Stern Conservatory. Griffes’s early compositions were influenced to some degree by German Romanticism, especially German Lieder. He never reached atonality in his

This essay will draw attention to the relationship between the political and social circumstances surrounding the creation and performance of J.S Bach’s Concerto no.4 in G major (Brandenburg). Other factors such as how improved technology (instrumental and print), at that point of time, changed the way that music was created, transmitted and performed will also be discussed. Johann Sebastian Bach (J.S Bach) was born on March 31st, 1685 in Eisenach, Germany to a prominent musical family. His father

The music of the Baroque period is more popular today than it was when it was composed between the 17th and 18th centuries. There is now access to tens of thousands of pieces of music written in the Baroque style that continues to please listeners today. (Green, 2017) Baroque music was extremely innovative and was compose at a time wherein composers were free to experiment with instruments, polyphonic textures as well as numerous forms. The word “Baroque” comes from the Italian word barocco which

Accompanied song was cultivated in Italy in the 16th and early 17th centuries, long before the word “cantata” was common terminology. Shortly after the conception of the recitative, the cantata began to combine the monadic style with new forms and the concept of systeme tonal (or the basis for the development of equal temperament) , which began to replace the ancient modes. The cantata had its origins in the same sources as opera and oratorio. The three forms are direct descendants of the madrigals

Symphony Fantastique commentary- March to the Scaffold. This movement comes at the point in the piece where thee hero (most likely Berlioz) believes that although he has fallen in love with a captivatingly beautiful woman, he is convinced that it is an unrequited love. As a reaction to this, the hero poisons himself with opium to commit suicide. However this does not ultimately kill him- instead he is knocked out cold and and is inflicted with vivid visions. In these visions he has a dream that

Rests are particularly evident in the recorder parts where he perceives the viable utilization of rests (quiets). These are mixed with areas where all upper parts continuously play. By accumulating the rests once in a while (in the ritornello), Bach gives a sense of unwinding. Segments of expanded pressure are set with rests. The expressions that incorporate the rests for the recorders on the downbeat likewise gives the audience a feeling of "home". The commonplace that a listener could