Characteristics Of Alla Turcca

Wolfgang Amadeus Mozart had endless ideas for writing piano sonatas and like his other works, his sonata style has evolved dramatically over the years. His early works have been constantly compared with other well-known composers at the time. For example, it has been suggested that Haydn’s F Major Sonata, Hob. XVI: 23 as a model for Mozart’s K. 280 in the same key.

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.

The piece that I decide to do was Mozart Symphony No. 40 because it seemed like it would have the most instruments, different dynamics and a different sound to it.

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.

Throughout the piece, the brass plays the theme in alteration with the timpani and tam-tam. Although the theme is simple, together they create a long musical idea. The overall dynamic of the brass grows throughout creating a sense of power especially 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

and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme "a" is transformed into 8 different versions throughout the composition's first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,

The fugue is often regarded as a genre defined by strict procedural guidelines. It is notable that three historically important composers, Johann Sebastian Bach (1685-1750), Georg Friedrich Handel (1685-1759), and Wolfgang Amadeus Mozart (1756-1791), all employed a closely related fugue subject in three different works. An analysis of each of these works individually, and a comparison of these works collectively reveal numerous latent and salient features, and a reflection of the composers’ style within these works. Analyses also provide an outlook into the fluidity in certain aspects and rigidity in others of the form itself, reflected historically. The three composers analyzed fall closely together in history. J.S. Bach and G.F. Handel were contemporaries, whereas Mozart was born six years after Bach’s death and three years before Handel’s death. Analytically, the angularity of these similar fugue subjects presupposes a treatment regardless of the composer. Because of the shared intervallic content among the subjects of these fugues, despite being written by several different composers, a surprising number of similarities arise. Therefore, it is reasonable to assert that compositional choices made in the construction of the fugue subjects limit the number of results possible.

In this essay we will analyze two modern musical pieces. These pieces are namely Sonata V from John Cage’s Sonatas and Interludes, and Caballito Negro by George Crumb. Composed in mid twentieth century, both pieces made a great success and they are worth examining in terms of the historical and subjective values affecting their achievements.

Music is constantly changing. The Baroque period (1600-1750) and the Classical period (1750-1820) have both differences and similarities in elements such as form, texture, and dynamics. I will be comparing the first movement of Spring from the Four Seasons composed by Antonio Vivaldi and the first movement of Symphony No. 5 in C minor by Ludwig van Beethoven. I will construct a stylistic comparison of the two compositions and their musical stylings with regard to the periods of music of which they belong.

to one side here in favor of the more rigorous example of Mozart, which is, however,

One of the problems clarinetists of the 21st century face when performing Mozart’s Clarinet Concerto, K. 622, is creating a performance that is memorable while keeping the authentic integrity of the work. Many clarinetists who perform this work are often concerned with how they should the approach and execute the concerto. Any musician who tackles any new work will approach it by researching historical information on the composer and work, do a musical analysis, and gathering recordings of other interpretations of the same work. This approach will not only allow the performer to be fully immersed in the piece but allow for the performer to create a memorable interpretation.

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

Music from all over the world presents a range of musical theories. Some of these are documented in writing whilst others are transmitted orally. Discuss and give examples with reference to both Western and non-Western music.

The melody is aggressive, with frequent use of staccato. It is full of large leaps and jagged movement which successfully relays the intensity and anger. Mozart also used coloratura(florid, elaborate vocal passages with heavy ornamentation) and melismas to add to the turmoil of the piece.