Concert Report #3: The Amenda Quartet November 6, 2015, the Amenda Quartet performed at RIT as part of the Performing Arts Program, with a program of three classical pieces by age-defining composers: W.A. Mozart and L.V. Beethoven. Two string quartets and a piano concerto, though not as well-known as other pieces by those composers, nevertheless are stellar musical works, well on the quality level a modern listener came to expect from the classical era. The first piece, String Quartet in F minor, op. 95, by L.V. Beethoven in four movements, is one of the shortest and most compact Beethoven’s quartets, and is often referred to as ‘Serioso’. The first movement, Allegro con brio, is unique, in a sense that it does not maintain a constant …show more content…
What it lacks in size, however, it compensates in quality and complexity -- a very fast, cheerful, and technically advanced movement brings a worthy finale to an already impressive work of art. The second piece is Concerto №12 in A major for Piano, K. 414, by W.A. Mozart, in three movements. For this piece, the quartet grew in numbers, bringing a piano and a gigantic bass from the backstage, which greatly enhanced an already rich sound. The first movement, Allegro, is an experimental mix of a piano concerto and a sonata: the structure remains as the sonata form (Fast-Slow-Fast movements), yet the interaction between the piano and the quartet is reminiscent of concertos. Specifically, in the first movement, the ‘solo’ instrument does not play for a while -- a standard concerto move. Besides that, the tune is a stellar example of Mozart’s style -- a light, cheerful, elegant, and ethereal melody, embodies a pinnacle of musical perfection, not only for the first movement, but for the whole piece. Interesting and unusual features of the first movement include frequent, fast, and incredibly technical piano arpeggios, and bass plucking, as well as a continuously reappearing idea. The second movement, Andante, is the exact opposite of the first movement, as expected if the piece follows the sonata form. The movement is slow, melodic, peaceful, and lets the listener fully enjoy Mozart’s melody writing genius. The piano steps in later in the movement, resuming the
As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.
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.
Mozart was a child prodigy, with a very difficult life. He was always working on pleasing everyone around him, including his father, whom he did not get along with very well. He had a problem getting along with most people in his life. Mozart lived a short and bitter life, but his work was so impactful that it is still listened to and enjoyed by others till this day. The first song that opens up the Mozart section of this concert is “Symphony No.40 in G minor, K.550,I”. Mozart’s popularity had died off in Vienna so this symphony was never performed while he was alive. The first and last movements are in sonata-allegro form. The song that follows right after that one is “Concerto for Flute and Orchestra in D. Major, K. 314, III”. This song was performed during a time when Mozart used a number of woodwind instruments. He includes a conversational balance within the vigorous texture. The next song is Selections from “The Marriage of Figaro”. This piece was about the Count flirting with Figaro’s beautiful fiancee. Before they got married, Figaro discovered
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.
I attended a Senior Recital performed by Travis Hogue-Smith. This concert took place at Barry University’s chapel on March 28, 2017 at 7:30 PM. The instruments used in this concert are a clarinet, played by Travis Hogue-Smith, and a piano, play Dr. Beverly Coulter. Music from both Romantic and Classical genres were played in this concert.
On Tuesday, March 14, 2017, I attended the Reno Philharmonic Orchestra at the Pioneer Center. The program for that evening included a Violin Concerto op 14 (1939) by Samuel Barber. With Benjamin Beilman, on the violin, the piece included three movements. Followed by Gustav Mahler Symphony No. 1 I D major, Titan (1889).
I attended the concert of Anton Nel and Bion Tsang at Bates Recital Hall on Friday night, April 15, 2016. Anton Nel played piano and Bion Tsang played cello. The concert lasted about an hour and thirty minutes. The performers total performed three Sonata by different composers, but my favorite one is the first one, which is Sonata in C major, Op.102, No. 1, composed by Ludwig Van Beethoven.
On Saturday, May 9th, the RIT Orchestra and Chamber Orchestra put on a performance titled the “Apotheosis of the Dance” at the Allen Chapel within the Schmitt Interfaith Center. The performance began with the RIT Chamber Orchestra, featuring mostly stringed instruments, performing works of Mozart, Bach, and Grainger. After a short intermission, the RIT Orchestra entered and performed a piece composed by Beethoven. The majority of the concert was conducted by Michael E. Ruhling, with the exception of a few pieces performed by the Chamber Orchestra that did not require a conductor. The Orchestra consisted of string, woodwind, brass, and percussion sections, and the Chamber Orchestra only had a string section with a flute soloist.
The Strings Ensemble at Harding Fine Arts Academy is taught by Mr. McKenney. It consists of instruments such as the violin, viola, cello, and bass. The instruments combine in order to create phenomenal harmony and melody alike. Each section of instruments holds their own part in each piece of music. Students learn not only how to improve their instrumental skills, but they also will learn how to cooperate with their peers in order to be successful.
Through exploring Beethoven’s compositions throughout his career, readers are able to recognize various factors that influenced the style of his music in each period of his life. In his early period, his
On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the 3-4 pm hour of classical music. The radio host was Gigi Yellen who was very knowledgeable about the pieces she had in the playlist for that afternoon. In between pieces she would usually make a comment or two about some extra-musical fact regarding the piece or composer. It was very interesting and I thoroughly enjoyed the hour of listening. There was not an expressed theme or organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come. I actually enjoyed this position of surprise and anticipation because it left me with a completely open mind without
Beethoven’s intent behind this piece is creating diversity out of unity. The unifying idea of the work is a series of three short notes followed by one long note. The diversity of the simple unifying idea therein is generated by the use of timbral development techniques and expansion of the orchestra; however, there are several performance practices and technical issues that impact the work’s total realization. The score referenced throughout this essay is the Kalmus Miniature Orchestra Scores version.
Sonata form is one of the more popular forms of music that is found in a variety of different works including symphonies, concertos, and sonatas. Sonata form features three distinct sections: the exposition, development, and recapitulation. Mozart was one of the early composers of this form of music. I will examine the clear distinctions between each section and how he does not stray from the typical form. In later years the form would change to become more fluent and focused on the growth and expansion of the piece. This progression of change was led by the works of Beethoven and the changes can be clearly seen in his grandiose works. By comparing the first movement of Symphony
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.
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