Bedřich Smetana’s Piano Trio in G Minor, Op. 15

A theme is the prime element of literature, which contains the central idea of the story. It helps reflect on the characteristics that a story might have and reflects on observations interpreted from our view of the author. The theme, a main idea or underlying meaning of literary work may be stated directly or indirectly, but it is ultimately our job to figure it out. Throughout any story, short story or poem you can see the constant change of imagery that will play a big part in the development of the characters ability’s to demonstrate the theme. In “The Storm” by Kate Chopin, the theme illustrates many sexual desires, adultery, and happiness as well as shows a theme of conflict. Chopin uses a storm to represent sexual passionate tension that builds throughout the story between the two main characters Alcee and Calixta.

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

In the short story, by Kate Chopin, themes are expressed through symbolism. The main theme portrayed by Chopin is freedom. This concept of freedom becomes prevalent when

The next movement of the concert from Czechoslovakia, Three Revolutionary Marches, began dramatic with leaps and high-range climaxes. The music of this piece perfectly portrays the

‘The Pianist’ is a cinematic masterpiece by the Polish director Roman Polanski. One of the key ideas that appear throughout much of the film is that of ‘hope being instrumental in our survival’. This idea is portrayed through Wladyslaw Szpilman, a Polish pianist, as he struggles for survival in Warsaw as everybody that he once knew and everything that he once had is lost. The idea of ‘hope being instrumental in our survival’ is worth learning about as it allows the audience to realise the importance of hope in todays society – and to understand how Polanski uses music to symbolise ‘hope’ for Szpilman in the film. Polanski effectively utilises an array of visual and oral text features such as music, dialogue, and lighting to build further

After Dvorak left the Organ School in 1859, he basically disappeared from the public eye for twelve years until 1871, which is when he emerged back into the public as a composer. For those twelve years he spent in seclusion, he was occupied with extensive writing in the classical form (8). To much grief and disappointment Dvorak’s first son died in September and his second daughter in October of 1877. These tragic losses were experienced within his grandiose oratorio “Stabat Mater.” For the next twenty years, Dvorak was invited to other European countries to conduct performances of his own works while enduring a struggling relationship with his publisher Hitherto Simrock (7).

The tempo throughout the song varies from adagio to allegro, but favors the allegro speed in most of the piece. As most of us have agreed, this specific movement is very repetitive in texture and tone. We believe repetition is a main them in the song to help the listener get a feel for the piece and help them memorize it better. As the melody progresses, the tone and volume of the piece make a drastic change. It slows down as to show the time of year is slowing. No longer are children running and playing outside, it portrays winter being right around the corner. The tone continues to fall lower, giving the listener a feel of sorrow, as if death is in the air. The visualization of leaves falling is imprinted in the listeners mind. Then suddenly, the tempo rapidly picks up and jumps right back into the main chorus, which is abruptly cut short. The tune firmly begins to build up as it almost lullabies the listener through the composition, while the volume steadily increases. I can picture myself swaying in the wind to the cool fall breeze as the sun sets on the warm colors of the fall leaves. Just as the lullaby seems to pick up in pace, it slowly fades in to the distance. Once again the volume of the piece quickly increases and has the listener on the edge of their seat as joy fills the air. The pitch jumps from low to high between each instrument as they begin to

In what period was the work composed? List three aspects of the musical style of this period that apply to this work.

As the title reveals, this 20-25-minute work is made up of of three movements: Mvt. I: Overture; Allegro, Andante; Mvt. II: Interlude Andante; Interlude: L'istesso tempo, and Mvt. III: Con moto. Referred to as his ‘war symphony’ by Stravinsky himself, this symphony was composed in response to the Second World War. While it was composed during his neoclassical period, this work challenges the norms of neoclassicism in ways that his other pieces composed during this era do not. This paper will argue that Stravinsky’s Symphony in Three Movements, while not one of his better known pieces, is still a work that is representative of his life and style as a composer. Through in-depth study of historical and analytical sources, it will look at how this work is a mixture of material and styles from Stravinsky’s works as well as from works of other composers. We will explore Stravinsky’s role in the neoclassical period, and how this symphony follows the general rules of neoclassicism while also involving more abstract and strange compositional ideas that are not neoclassical in nature. We will look at the different life and world events that influenced this work, and how this work influenced his later compositions, such as The Rake’s Progress. Primary sources will be used to better understand Stravinsky’s thoughts and motivations for this

Trio sonata, real orchestral compositions kind in the Baroque time written in three sections: two top parts played by violins or other high song instruments, and a basso continuo part played by a cello. The trio sonata was really performed by four instruments, subsequent to the cello was bolstered by a harpsichord whereupon an entertainer ad libbed harmonies inferred by the composed parts. In execution the instrumentation of a given piece may be changed, woodwinds or oboes supplanting violins, for instance, and bassoon or viola da gamba substituting for cello. At times trio sonatas were performed orchestrally. The class' surface of one low and two high tune instruments in addition to an agreement instrument was exceptionally supported amid

Each section is subdivided into more sections. The first section introduces the motif which includes fast, slightly detached and energetic chords. The motif comes back slightly modified within a couple of bars time. The second section modulates to the key of B major which is divided into two more subsections which is extremely different from the loud, energetic and almost violent start. However, here too the key changes momentarily in D-sharp minor. The final section that closes the piece echoes the first section which then ends in its tonic key.

Theme is an integral part of this story and is mostly presented through the narrator. One of the major themes of the story is conscience, in which many of the conflicts in the

The return to the home key can be seen as a relief from the “dissonance” produced by the passages of second themes in E major and b minor. Yet, the tonality on G major is not distinctive enough to induce a home-returning emotion in the listeners. Therefore, the composer restated the opening of the first theme in G major and continues with arpeggiando passages (Fig. H) (mm.288-295) establishing the dominant of the home key. The coda (mm.295-324) consists only

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.

I used the score from the German publisher Schott Music. Diary, which is a set of seven compositions. This work was written for pianist Anna Gourari. The first performance was in Moscow on December 5, 2002. I found one commercial CD containing this suite, recorded by Ekaterina Mechetina, in album "Schedrin Shakhidi", available on Spotify for reference. As composer suggested that it is possible to perform each piece separately, and he also mentioned attacca at each end of the movements. In this suite, Shchedrin developed a compositional technique that reintroduced the pitches of a single motive continuously throughout one movement, with rests as space between phrases. This piano suite, as one of the Shchedrin’s influential present piano works, features a combination of performance elements and is attractive for both concert artists and young age students. This repertoire ranges in medium difficulty and is filled with elements of dance, folk music, traditional and non traditional harmonies. The use of contrasting textures and imaginative