D Minor K. 15 Symphony 1

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

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.

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.

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

Antonio Vivaldi is a famous Italian baroque composer, known by most Suzuki violin students who study his concertos or by audiences everywhere who have heard and love his composition of the Four Seasons.  Having grown up as students of the Suzuki Violin Method, we recognize this composer and have experience performing his pieces.  In addition to his many concertos written for solo violin, Vivaldi composed many concertos intended to be performed by two solo violins, accompanied by a small orchestra.  Because we are both violinists, we chose to analyze the second movement of Vivaldi’s Concerto for Two Violins in A minor, RV 522, included in his L’Estro Armonico works.

The third movement lead straight into the fourth, and that lead into the fifth movement without missing a beat. The fifth and last movement of this symphony is in sonata rondo form, which is a blend of the two. A rondo is when the first theme, A, repeats several times with other music (B, C). This form then also shares characteristics of the sonata, so it has a development section as well that is common in sonata

Ludwig van Beethoven was one of the greatest composers and a musical genius. Beethoven was born on December 16, 1770 in Bonn, Germany and died on March 26, 1827 in Vienna, Austria. Beethoven came from a family of musicians just like many other great composers before him had. At the age of only 11 Beethoven began serving as an assistant to the court organist and had several published piano compositions at the age of 12. At the age of 18, he became the legal guardian of both of his younger brothers, after the death of his mother and dismissal of his father from the court choir because of alcoholism. By this team Beethoven was also a court organist, violinist and responsible for composing and performing.

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

There were a total of four music pieces performed. They were “Overture from the Singspiel”, “Concerto in e minor”, “Concerto on b minor,opus 104”, and “Symphony#2 in b minor, opus 5”. I think pieces were performed belong to classical style.

Beethoven’s symphony No. 5 in c minor, Op. 67, I has four movements allegro con brio, andante con moto, scherzo allegro, and allegro. The first movement is a sonata that contains a motif and fortissimo phases using imitation and sequence with a constant flowing melody. The second movement contains two themes in alternation. The first theme starts later followed by the second which later dies of as a third theme is born followed by fortissimo The third movement contains a scherzo and trio and is in ternary form the theme is immediately stated and continually gets revived. The fourth and final movement starts immediately after the third and is a variation of a sonata. The piece has strong cadence and recapitulates only to finish in an extremely

Haydn wrote more than 80 string quartets during his long career. By the early 1770s, "the four-movement format was standardized" in Haydn's quartets (548). After an exciting first movement in sonata-allegro form, Haydn often used a minuet for the second movement. The third movement was usually a slow piece and the fourth movement was usually another up-tempo form like the first movement. This order of movements differed from the traditional order, in which the second movement was a slow piece and the third movement was a minuet. By changing the order, Haydn expressed an element of the classical style, because the four movements are balanced in terms of their "expressive weight" (Rosen, 280).

No. 13 In G major, K. 525, "Eine kleine Nachtmusik": 1. Allegro.Capella Istropolitana- its name is derived from the greek name for Bratislava. Formed by membes of the Slovak Philiharmonic Orchestra, Capella Istropolitana has evolved from a chamber group to a full-size orchestra. under the direction of Richard Edlinger, Capella Istropolitana has performed a diverse reange of classical pieces. Listening to the piece. One of Mozarts sernading music. The serenade in G is unique to the period of his residence in Vienna. Listening to the song allows me to distinctively hear the work of Violins, somewhat of a Cello. Also from my learnings of the song. I discovered that there was actually two Violins, Cello, and Double Bass. The song also had a diverse

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

The Seventh Symphony itself can and has been described in many words and fashions. It’s victorious, moving, energetic, powerful, and full of heart. The piece is known for its rhythmic devices (such as dotted rhythm and repeated rhythmic figures) and the celebratory emotion to it, in which makes listeners want to dance and burst into blissful joy. It involves four movements: 1. Poco sostenuto – Vivace, 2. Allegretto, 3. Presto – Assai meno presto (trio), and 4. Finale, Allegro con brio. The score includes two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two drums (in which are tuned to A and E, except in the scherzo where they are in F and A), and basses. The first movement is in A major, with repeated modulations between C major and F major. The second movement also includes modulations (originally in A minor with switches to A major) and the third movement is in F major.

The second movement, Andante con moto, however has two main different interpretations that it could be analyzed as song form or sonata form. The third movement, Con moto moderato, was composed in form of minuet and trio. Finally, for the finale, which consists of the Roman saltarello and the Neapolitan tarantella dance rhythm, contains characteristics of both sonata and rondo form.