Critical Analysis Of Richard Georg Strauss's An Alpine Symphony

I think this symphony has a really dramatic effect in it and it also shows some kind of pride in it, and also it has a romantic side to it if you listen really closely in the first part of the 4th movement it shows it. I also like on how it starts soft and kind of slow and then goes higher and faster, he does it in a really good way like is trying to show something, because the crescendos in this symphony are what make it have that dramatic effect in it because they get really intensified by the orchestra that plays this

In the first section, A, I recognized the usage of a piano, synthesizers, and a drum set. Different parts of the drumset, like the cymbals and the bass drum, are playing at a pianissimo and slowly crescendo up to a mezzo piano. In the music, the drum set plays a big role in the leaps it presents when it starts creating a beat. The synthesizers create different sounds which add to the music of the song. The sounds created sound, out of this world when they crescendo and decrescendo in section A. The last instrument plays a big part as the harmony. The piano is the harmony which is played at a dynamic of piano and mezzo piano. Although the tempo is Allegro, this part of the music is calm and happy, making

On Saturday, November 4th, I visited the Denver Art Museum in Denver, Colorado. The piece of art I decided to write about is called “A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado)” This two-dimensional oil on canvas painting was completed in America in 1927 by Sven Birger Sandzén. This painting has not been on public view since 1927 and is located in the Denver Art Museum in Denver, Colorado. It was a “Free Day” at the museum, so I decided to attend by myself. I was unable to get a picture of myself in front of the work of art I decided to write about, but I did get several pictures of the artwork and a picture of myself with the “Free Day” sticker. I decided to write about this work of art because it was the only piece in the museum that really stood out to me and really caught my attention. A Mountain Symphony is a lively, beautiful landscape painting with a vibrant pallet filled with luminosity and broad brushstrokes. The sculptural quality of the paint surface reflect the influence of turn-of-the century modernist techniques. The balance of color and light brings happiness and joy to the viewer.

There is a slow introduction; you get a sense of longing in the music suggesting that Berlioz is feeling sad before he saw his lady friend. The symphony plays a slow introduction in a classical sonata style. The muted strings play a sort of veiled tune and it fits Berlioz's romantic spirit. The orchestra gives off a dreamlike condition and the melody provides a sense of loneliness, and despair, a description of how Berlioz feels. The key it is being played in is C minor.

In measures 86, introduction reverse again in the trumpet and brass band to lead andante. Measures 90-94, saxophone melody that leads from first main melody from movement1 to play in andante. Clarinet bassoon, cello and double bass play as a base for Flute, Oboe, Violin 2 playable parody (Imitation) with the saxophone.

The third movement was lighter than any of the other movements. But the middle section referred to the single note motive which was grown as symphony progressed.

Mozart clearly integrates the Neapolitan chord correctly, in the practical theory sense, and also very well in the application of the passing function.   Although the

A great contrast was found in the second movement, a hymn-like happy mediation of andante. Three phrases of the tune which was given to clarinets and bassoons, has its cadence echoed by low strings. Passages developed from the first theme then led gradually to its return in its original calm mood after a brief climax. A brief coda was made by a new and happy melody referring to the main theme.

This collection has evident african and native american elements throughout. The fourth movement of symphony 9 is very loud and finishes not only the single piece of the collection but finishes the whole collection on a strong but graceful note. The era that this piece was written during was the late Romantic Era which was all about expanding on top of the classical era music and going against it. For example in the fourth movement of the piece it starts out with the symphony playing at fortissimo or even louder.

In Johannes Brahms’ first symphony, an angelic alliance of flutes hypnotizes the audience with delicate notes that form a scenic melody. In the distance, I am blowing until my face turns blue into a large goofy instrument that hardly anyone notices. When I picked up the tuba during my junior year of high school, I quickly became accustomed to less glamorous musical parts, long notes of loosely buzzing lips, and pages of paramount silence. Worst of all, playing the tuba never quite made me a “ladies’ man.” Yet my short-lived stint as a tubist sparked an appreciation in me for the humble instrument’s significance. Were it not for the deep rumbling of the tubas which mirror the melody step-for-step, coloring the piece to a new depth, Brahms’ rich masterpiece would undeservingly sound hollow.

powerful and dominating to the listener’s ear. His use of only four notes to introduce his

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 paper at hand is a music appreciation of The New York Philharmonic’s performance of Gustav Holst’s The Planets at Avery Fisher Hall, New York, on 7th July 2013 at 3:00 p.m. This tenth season of Summertime Classics, presented by The New York Philharmonic, features Bramwell Tovey, who has been the host as well as the conductor of this series since its commencement in 2004 (Gilbert, 2013, p.1). Tovey, a Grammy-winning conductor is renowned all around the world as a highly versatile musician due to his “artistic depth” as well as “charismatic personality” that reflects in his works as a composer and pianist (p.1). On the other hand, The New York Philharmonic is an orchestra group that is comprised of highly talented musicians who by playing musical instruments such as violins, piccolo, cellos, trombones etc are able to bring in the essence of the works done by original composers (Keller, 2012, p.7).

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.

The resonant sound of brass generates some tension in the form of dissonant chords. The combination of unusual sounds, vivid dynamics and rhythm changes, are incorporated in the symphony by Beethoven. However there is more as the first movement goes on. Beethoven uses a minor key for a short passage. The agitated sound of strings adds some tension and drama in the movement, which is finally resolved by the woodwinds. The clarinet and flute return music to a major key and a state of calm. The minor passage is a new concept which stands out the traditional symphony. It adds a different texture that clearly departs from the leading motive. This brief minor passage is also repeated so it may be thought of as a second motive. Another striking quality of this first movement is the use of a set of chords played by the whole orchestra. It serves as a bridge to connect the major and minor motives. Towards the end of the first movement, there is a brief passage embellished by the strings while the horns and trumpets remind us the sounds of the leading motive. The lively sound is interrupted by a brief minor passage. Then, the leading motive is repeated by the clarinet and flute. Strong and bright sounds prepare the audience to the conclusion of the first movement. One can conclude that Beethoven's unique expressiveness and passion are reflected in every note of the Eroica's first