A Concert Report : Jeunehomme, A Piano Concerto

Broadly speaking, the first movement can be divided in to three pieces, each beginning with a version of what I have denoted A_0, the introduction to the piece inwhich motifs float around in a constant void, gaining energy, and morphing into musicalthemes. If we were to impose the sonata structure onto the piece, we would say that the three pieces are the exposition, development, and recapitulation. The exposition introduces two large thematic blocks separated by a transition that

The first movement, marked Allegro ma non troppo, is in the classical sonata form, featuring 2 contrasting motives, one very triumphant, energetic, another sweet and lyrical. The movement begins with orchestral tutti introduction, vaguely featuring fragments of the 2 motives. Harmony-wise is relatively simplistic, emphasising greatly on dominants and tonics. The orchestral introduction ends with 5 measures of cadential six-four while raising a massive crescendo from piano to fortissimo, landing on a cliffhanging dominant seventh chord. After the stillness, a solo timpani begins a ‘march’, repeating a tonic F at pianissimo, creating a so-called ‘theatrical expectancy’, which contrastingly and explicitly brings out the triumphant bassoon solo militaristic first theme, effectively heightened the sense of

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

The melody in the first movement opens with the violins and they are then accompany by the violas and the cello. As you keep listening you notice that French horn, clarinets, flutes, and oboes contribute to the harmony. The first movement is also in the key signature of G minor. As you move through the first movement you enter into the second section which is in a different key. The key signature of the second movement is in B flat major. The instruments that have the melody this time are the violins along with the clarinets and bassoons.

When the concert first began, the three instrumentalists walked with energy despite their age. The first song, “Sonata I in G-Major Op. 2, Nr. 1” by Michel Blavet, was a Baroque Sonata. There were five movements and was played by the harpsichord, flute, and cello. All movements of the song were polyphonic because of the three instruments that had different parts and equal importance. In the first movement, I noticed that the flute tended to rise in pitch. In the second movement, I noticed that the melodies often repeated. Throughout the rest of the song the tempo changed from fast to slow and the flute would usually take the lead. On the last movement, the cello and the harpsichord

The introduction opens with a descending minor scale by pizzicato strings, followed by  three sforzandos in the orchestra. Section A begins with strings, woodwind and brass playing a waltz rhythm, which modulates to major. The strings play melody 1, which is then repeated with piccolo countermelody. Brass and string crescendo and cymbal crash before strings play melody 2 which is dotted, and followed by suspensions and an imperfect cadence. The suspensions are repeated with a perfect

The concert started off at a quick and stimulating pace with Brahms’s Sonata for Two Pianos in F Minor. The piece starts with descending arpeggios echoing a sensation of distress or confusion. There are frequent slight pauses, creating a sense of suspense for what is to follow and building on the emotions

The piece was the only Opera Beethoven ever wrote and was a classical piece. The pitch is very extreme it features sad lows while having extravagant highs that change the mood from slow to fast at the same time. The Rhythm the piece featured The overture opens with a short unison Allegro in the string and wind instruments, followed by an Slow in the horns and clarinet. The opening measures are then repeated and the Slow tempo reappears, the horn theme being taken in the wind instruments. After development the theme returns in the woodwinds, and again appears for the horn, leading to the main Allegro of the overture. The wind instruments sound a crescendo chord and the first theme is outlined by the second horn, answered by clarinet, and then developed by full orchestra. The strings give out the second theme, which is briefly treated. In the closing section of the overture the first theme is heard in the horns, accompanied by violin passages. At the conclusion of the Allegro development the Adagio episode returns, leading to the Presto Coda, in which a familiar phrase from the first theme is worked up to a climax of exultation closing an overture which has been called "an example of perfect beauty." The Timbre of the piece was

After the harps introduction, the violins begin to be playing the main melody. There is a simple waltz tune that plays in the background as the harps and violins play. There is a sense of delicateness and beauty with the flutes and clarinets playing in the background as well. There's ascending and descending and the tempo increases. "Idèe Fixe" is incorporated as soon as Berlioz sees the woman again and then it slowly fades away because the waltz takes over as she disappears into the crowd. The music becomes livelier. At the end there is a whirling rush and the movement ends because cause Berlioz is left alone

Its estimated duration was around 22 minutes. The idea for the soloists’ performance comes from the chamber concerto form. The solo players performed periodically through the symphony. The piece included three movements: fast-slow-fast. In the first movement, the soloists are supported by background harmonies. In the second movement, the soloists are playing together by taking turns with the background orchestra playing quietly like whispers. The final movement is more lively and spirited.

The beginning of the piece reminds me of an urgent moment, with a great escape. The orchestra builds momentum as if something was frantically running through the woods trying to escape persecution. It gets faster and faster, then suddenly opens up to a calm field. The piece gets slower and much more calm as the prey stops to catch it’s breath and take in the moment. A victory which is short lived and speed quickly picks back up with the entrance of the cello

It has four orchestral suits (overtures) for defining the movements. French overture characterized the opening: majestic opening characterized by slow dotted-note rhythm in duple meter, followed by fast fugal part, and lastly the short recapitulation of the introductory music ("Orchestral Suite No.2 in B Minor, BWV 1067 (Bach, Johann Sebastian) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music"). The numerical order of the orchestral suits is conventional, in which the first and fourth were borrowed from the time of Cothen and Leipzig era respectively. The B- minor is more intimate of works, flutes, continuo, and strings. Suit term portrays a set of dance movements in successions. Overtures combined slow opening, harmonic suspensions, and a faster part with the lightly fugal feature. Sections were repeated in this

It started with a rather slow tempo that had a call and answer type of theme, with the call part being more loud and dramatic while the answer was soft and then after a part that flowed without the call and answer theme, it was vice versa- so the call part was soft and the answer was louder and more dramatic. This movement faded out and into a slightly more fast paced part, however it wasn’t the end of that movement because it wasn’t a complete stop. The second movement was quicker and much shorter than the first movement. The third movement was very similar to the first, in that it was a little slow and has very short pauses that fade into a different paced part of the same movement. This movement had variations to the first theme and had a short harpsichord solo. The fourth movement, Menuetto alternativo- trio had a faster pace and sounded like a non imitative polyphony with the violins and viola as the main melody and the cello and harpsichord as the second melody at most times and as the background accompaniment at other times. The last movement was much louder, more dramatic and more lively than the rest of the movements.This movement had multiple parts that sounded were crescendo and then decrescendo. They finished the song with crescendo and it was a very dramatic ending. Most of the movements in this piece were played by the strings, and the harpsichord was rarely heard because the strings overpowered it and were much louder than the

As a result of the Piano Quintet being composed for both a piano quintet and string quartet, a listener of the piece would be able to feel the emotion that Schumann put into this piece. The contrast of the piano against the violins really allows the listener to take in the music. The first movement literally translates to a fast tempo, between allegretto and vivace, and bright/sparkling/brilliant; given this name the first movement did not disappoint with its lively theme with beautifully placed dynamics. The second movement is the slower funeral march with a lyrical main theme played by the violin and cello, and a second theme played by the piano with string accompaniment. The Scherzo utilizes the chromatic scale to re-engage listeners after the slower second movement.

The first movement of the third sonata is the most experimental, the one which deviates most from Classical form and harmonies. The exposition, in particular, is more like a fantasy than a sonata. The sonata opens quite promisingly. A descending broken chord followed by ascending march-like chords creates the primary theme (mm. 1 – 4).