Analysis Of Antonin Dvo?�k's Symphony Part 9

To assign the first movement of Beethoven’s Ninth Symphony the sonata form would truly be a subjective judgment. I will first explain how this movement fits thesonata form; then I will discuss how it diverges from this form in rather fascinating ways.

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

For the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th movement.

Beginning solely by a haut instrument, Susato successfully conveyed a bright sonority to the first dance [Susato, Three dances. 0:00-0.06]. Added percussion instrument at the seventh second, the music was given its first touch to be vivid and plump. It was performed by outdoor woodwind bands including tabor, cornetto, sackbut, shawn, and tambourine. Though there are three dances contained in Susato’s work, and dances flowed from one another, it is not hard to distinguish because of their clearly full-stops between each part. Three dances, composed during Renaissance period(1551) by Susato, is a three rondes music in binary form(A-A-B-B). Its repeated melodies were played by permeant improvisers at that time to help enrich the music with colors

a)The "Beethoven Concerto"s and Op. 37's Placement in the Genre and as a continuation of Mozart's Style

Beethoven took a major turn in direction when he composed the Eroica. One oddity about the Eroica was the drastic change in its dedication. Originally dedicated to Napoleon Bonaparte, the dedication was erased and later changed to one of Beethoven’s patrons. The change was possibly due to Beethoven’s feelings about Bonaparte crowning himself emperor. The actual content of the Eroica was unique for its time, no composer before Beethoven had put as much emotional and psychological emphasis into one of their works. Beethoven’s unique innovations in his Third Symphony would prove inspiring for ages to come.

Haydn composed his Op. 74 quartets in the later years of his life between 1796 and 1797 and it was the last of his completed string quartets. The set of quartets were dedicated to the Hungarian Count Joseph Erdödy and were published in 1799. It was said that this selection of quartets was one of his “most ambitious chamber works” with his attempt of “emphasizing thematic continuity, seamlessly and continually passing motifs from one instrument to another” 1. The fourth of these quartets is nicknamed “Sunrise”. This is due to the exquisite rising theme heard in the first violin part at the beginning of the first movement from bar one to bar four as seen in Figure

He states that anyone who has a nose can tell that the symphony was influenced my America, but he was mainly influenced by African American folk music, plantation songs created by Stephen Foster, and songs of American Indians. He mentions later in the letter that “The music of the [African Americans] is like a rare and lovely flower growing amidst encroaching weeds. Thousands pass it, while others trample it under foot, and thus the chances are that it will perish before it is seen by the discriminating spirit who will prize it above all else” (Dvorak). Dvorak appreciated the music of this culture and knew that it was underappreciated and would soon be the next big thing in the music

The principle theme of the third movement (See Figure 3.) is taken from the Czech folksong "S'il jsem proso na souvrait” (“I was sowing millet”), a theme which Smetana also uses in his “Characteristic Variations on a Czech Fok Song” and in his “Piano Sonata in G Minor.” This song is associated with the Rebellion of the 1840s in which Czech citizens struggled to end the Absolutism power and to make Czech the national language and encourage Czech identity (Large 34). By using a theme that represents the Czech radicals’ desire to express their identity, Smetana creates a parallel to his desire to come to terms with the loss of his daughter, a part of his identity that is lost forever.

Symphony No. 7 in A Major (Op. 92), completed in 1812, might have been one of Ludwig Van Beethoven’s most popular pieces. The seventh of Beethoven’s nine symphonies, its premiere concert (December 1813 in Vienna) was performed at a charity concert in order to benefit the soldiers who had been wounded a few months prior in the battle of Hanau. It was performed three times in ten weeks following its premiere. During the time of the symphony’s premiere, Vienna was still distressed due to being taken over by Napoleon in 1805 and 1809 and yearning for victory; the audience at the premiere seemed to have loved the energy and beauty of the piece. The Seventh Symphony had been dedicated to both Count Moritz von Fries and Russian Empress Elisabeth

The first thing I searched on the MUN library website. I then went to the MRC page and opened the Naxos Music Library. I then searched for Dvoràk New World Symphony. I chose the recording with the Slovak Radio Symphony Orchestra. Finding a video source using the MUN library catalogue I had no luck. So I searched online on youtube and found some great results. Various orchestras such as the Vienna Philharmonic and the Munich Philharmonic were there with the full performance and conductor Sergiu Celibidache. However I then searched for the Berlin Philharmonic on google and found their concerts online website. I looked at it and it turned out that MUN libraries has a subscription. Therefore I decided to find a video of the symphony. I found one with conductor Mariss Janson in 2012. I then cited the concert using MLA. For the book, I searched on the MUN library Catalogue for Dvorak New World. I found a book called “A history of music in western culture” call number ML160 .B753 2013, and another book called “Dvořák to Duke Ellington: A Conductor Explores America 's Music and Its African American Roots.” For the articles, I used the same search phrase but changed from catalogue to articles. I found 2 articles named "Dvořák 's "New World" Largo and "The Song of Hiawatha” and "The Evolution of Dvorak 's Symphony "From the New World.” Finding a grove music online, I searched for Antonine Dvorak and found "Dvořák, Antonín (Biography).” For Finding a score, I used

The decision to compose a monumental work based on a story from the Kalevala appears to be charged with political implications and his need to create Finnish art music at this time in his life. Sibelius wrote “I’m working now on a new symphony, completely in the Finnish spirit…It is my conviction that a Finnish man shall feel and think Finnish.” Kullervo’s multi-movement structure features soprano, baritone, male voice choir and an orchestra, with all of its five movement unified by the themes presented. The movements which feature the voices highlights his musical attention to the rhythm of the Finnish language and “created a basis for a new vocal style arising out of the nature of the Finnish language.” However, Sibelius not only based his composition on the story in the national Finnish epic but also included elements of folk music in his piece, which seems to justify the label of a ‘nationalist’ composer. In the second movement of Kullervo, Sibelius combines ideas and theme rhythmically and melodically in the manner of rune singers and folk idioms (see example 1). Through this variation of ideas, the intensity of the movement rises and becomes extremely fierce. He also uses the time signature 5/4 in the third movement, which although no explicably Finnish, is known to frequent and characterise some Finnish music. The

Sonata form is the musical form is the form that has been most widely used then any other form. It really toke shape as a main form during the Classical period. It is usually used a first movement in a multi-movement piece and is commonly referred as Sonata-Allegro form. The concept behind it was to try and find a way to organize or categorize musical ideas into a movement based on a particular “key.”