Bargemusic Concert Hall Analysis

Many people compare the musical works of Ludwig Van Beethoven and Wolfgang Amadeus Mozart because of the styles of music that they produced. They were also similar because of their age and the music period in which they created in. Throughout their lives these two composers had vastly different customs and behaviors. Each composer contributed to their own unique styles of music, however they continue to be a musical inspiration in today’s world. Many people of the early classical music period reacted differently to both of the musician’s works because of the unique way they chose to create and present their music. These musician’s created a lasting effect on the musical world that we see today.

Felix Mendelssohn was one of the most famous composers during the 19th century. Although in his music he did show some features of romanticism, he was strongly influenced by traditional genres such as counterpoint etc. In this essay, the biography of the composer, background of the genre and analysis of the piece will be investigated

Firstly, I will discuss the methods used in order to analyse the Form and Structure of the piece. The emphasis in analysis was often given to the form and structure of the piece, especially during the nineteenth century as this allows performers to gain knowledge more directly regarding the overall style of the piece. The sonata is composed in Sonata form and is separated into three movements, firstly the Grave- Allegro di molto e con brio movement, followed by the Adagio Cantabile middle movement and finally the Rondo Allegro movement. There are different meanings to the word structure in music, the first is to do with locating the different movements or the different sections of the piece and the second is to look at how the piece has been put

The Violin Concerto No. 1 in G minor, Opus 26 is one of the most famous violin concertos over the musical history. It is also considered to be the most renowned work by the German composer Max Bruch. I will begin with a short explanation of why I choose to analyse this piece followed by what makes this piece so remarkable. I will then present the musical context – German Romantic period – in which this piece was composed and discuss how it is representative of this period. Also, I will present briefly the biography of the composer and relate his life and style with this particular piece of music. After, I will explain the basic structure of a concerto, associate it with this violin concerto, and analyse how each movement is related. Then,

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.

Schubert not only handles an abundance of melodies with dexterity and innovation, but he also shows his mastery of rhythmic variation and dynamic impact in the lively Allegro movement proper. The beautifully contrasting second movement features a sonatina design with no real development. The six rhythmic themes are presented in a strikingly systemic manner that highlights the movement’s pure architecture, a feature that makes it an important model throughout the 19th century. The spirit of the Scherzo, in which Schubert follows the Venetian model, is in one word “Beethovenian.” In this movement, one can hear far-reaching harmonic trips (C major C# minor) as well as richly scored dance tunes, which Schubert was known to often improvise at dances and gatherings. The last movement of the work is an explosion of fearless energy and virtuosity. In a central episode, Schubert incorporates an echo of “Ode to Joy” as homage to the great symphonic figurehead and his personal hero, Beethoven. The resilience that can be heard in the intense jubilation and exhilaration of the finale of his last symphony parallels Schubert’s remarkable outlook on life until the very

Never could I have thought that my first concert experience was going to be in a college class, performed by various composers of classical music. During the concert, I got to listen to four performances. First, the Oxycotton was played by Tim Sanchez. Second, Samantha Post played Acht Stucke on flute, followed by Nicholas Gledhill, playing Blues and Variations for Monk on horn. Finally, the CSU Graduate Brass Quintet performed a piece named Misty. In this essay, I will share my personal experience of the concert and discuss the different elements of music seen in the different performances.

Distinctive harmonic departure from the classical sonata form convention fills the movement with drama. In classical sonata form convention, tonality is to be established in the first theme with no ambiguity so as to make contrast with the second theme, which is normally set in the dominant. In the first movement of Beethoven’s sonata Op.31

On Sunday, May10 2015, a concert was held in The Broad Stage. The concert was played by Santa Monica College Symphony Orchestra, whose conductor is Dr. James Martin. For this concert, I would identify myself as a referential listener at this concert. I say this because I am not an expert in music, therefore it would be hard for me to be a critical listener. I wouldn’t be able to tell what went wrong with a performance even if some incorrect notes were played. I was more of a referential listener because the music was soothing and brought my mind to peaceful thoughts. This essay will tells my experience of the concert in order to persuade my friend to  attend a classical music concert with you in the future.

Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.

Throughout the centuries upon centuries of existence, music has developed and adapted into what plays today through car radios across the world. Ludwig van Beethoven himself helped pioneer music into what we understand of it in today’s day and age. “Piano Sonata No. 14” – commonly referred to as the “Moonlight Sonata” – is the perfect example of a musical cairn. This piece has three individual movements that can stand on their own, yet turn the sonata as a whole into a masterpiece, speaks through both profundity and grace, and retains many of the musical elements that cause sonatas such as this to maintain relevancy throughout the test of time. “Moonlight Sonata” is really a composition of three movements that keep the piece interesting.

Most composers have certain types of music that they prefer to compose, whether it is composing using certain instrument types or composing certain styles or genres of music; many composers have their niche. Paul Hindemith, being a string player, naturally was comfortable composing music for string instruments, and because of that, he has large a number of compositions for string instruments. However, he has also composed a large number of musical works for a variety of other instruments and chamber groups. Hindemith did something incredibly unusual for a composer to do: he wrote sonatas for almost every wind instrument within the symphonic orchestra. The purpose of this paper is to take a look at the factors that played into the composition of the woodwind sonatas and how they reveal pieces of Hindemith’s philosophy of music and theory. The uniqueness of these woodwind sonatas are a result of the historical backing of the sonatas, the purposes of the sonatas, and Hindemith’s newly changed philosophy about music, as shown by the flute sonata.

Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

Because of Introduction to Music, my perception of classical art music has changed and more importantly, the course has impacted how I approach music in general. Before the class, I would have described art music as boring and dingy; however, after learning a plethora of musical elements, and after thoroughly studying the context of each piece, my interest for the genre grew along with my appreciation for it. To the average listener, Johann Bach’s Cantata No. 140, Wachet auf, I, sounds like atypical church music, presumably from Europe. It is not until one establishes a basic foundation, until one knows the fundamental elements of classical art music, that an appreciation can be developed. Without the first twelve chapters of The Enjoyment of Music, I would not have been able to understand the meaning behind the polyphonic texture and dotted rhythms; furthermore, I would not be able to understand the difference—nonetheless, the meaning—between the ritornello and the counterpoint, and the indirect ideas and concepts conveyed through them.