Johann Sebastian Bach’s third movement, Presto, of the Concerto in F Minor for harpsichord and strings, BWV 1056, provides ample material for analysis. This movement is in binary form, which means an opening ritornello alternates with episodes of solo material. The ritornello, full of easily recognizable material provided by both the orchestra and solo harpsichord, provides a stable back drop in between each solo section which creates drama and excitement throughout the entire concerto. The word “concerto” comes from “concertare,” which has different meanings in Latin and Italian. In Latin, concertare means “to contend, dispute, or debate,” while the Italian meaning is “to agree, arrange, or get together.” There is evidence of both definitions in use J.S. Bach uses many of techniques characteristic of the Baroque period, including imitation, vordersatz, fortspinnung, and epilog, to help increase the drama and tension of the piece. Vodersatz is the exposition of a motif, follow by the development of the motif, known as fortspinnung. The epilog is the closing section that ends in a cadence. In this essay, I will be analyzing the form and historical context of the Presto movement of BMV 1056, in order to understand how and why Bach uses well established compositional techniques to create a drama and tension in his concerto. In analyzing the form of this movement, one can see three distinct themes in the opening ritornello, which are then brought back in various episodes of
Broadly speaking, the first movement can be divided in to three pieces, each beginning with a version of what I have denoted A_0, the introduction to the piece inwhich motifs float around in a constant void, gaining energy, and morphing into musicalthemes. If we were to impose the sonata structure onto the piece, we would say that the three pieces are the exposition, development, and recapitulation. The exposition introduces two large thematic blocks separated by a transition that
The fifth and final section of Bach’s work is overall the shortest and the most contrasting of all of the other parts. This section is also almost entirely in the tonic major; which is most commonly used as the representation of a final resolution. During the last section, the pedal is used to its greatest extent which covers the full range present on the organ.
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.
Historically in Bach’s day, toccatas often served as introductions Fugues, setting the stage for the complex and intricate composition to follow. “Fugue” can be described as a technique characterized by the overlapping repetition of a principal theme in different melodic lines (counterpoint) and hence the second part of Bach’s composition reflects the particular popularity of this form. Bach made much use of the fugue in his compositions in solo organ pieces as in this particular fugue, with its accompanying toccata, is his best known
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
The sonata begins softly but with unmistakable energy. The trill like sixteenth notes on the third beat of this motif surge the piece forward into the next bar. The two bar motif appears again, and is then varied and
This concerto is made up of three movements, with the second movement entitled Larghetto e spiritoso in between two Allegro movements. Originally intended for two solo violins, violin I, violin II, viola, cello, and bass, this piece has been transposed in various forms and is now commonly performed with two solo violins and piano. While the other two movements are lively and exciting, the second movement provides a great contrast. It is in a different key and has a completely different feeling, one of heaviness and melancholy, though its chord progressions and harmonies make it appealing to audiences. This composition in its entirety gained Vivaldi his greatest popularity as it spread throughout Europe and became a standard for 18th century composers.
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.
Bach's "Organ Fugue G Minor" manages to sound both melancholy and lively at the same time. Although the texture of the piece is clearly Baroque in its construction, it has emotional depth that anticipates the Romantic period. The fugue is tuneful, partially because of its inventive repetition and expressive use of contrast. As in all fugues, one melody seems to repeat the other, in a kind of a musical dance. But the different voices are multifaceted and complex. The full range of the organ is represented and the textures of the music are complex.
The third movement - Adagio molto e cantabile - is quasi-variational similar and involves two themes: Adagio molto and Andante moderato. Both themes are of unsurpassed beauty. There is no link musically between the themes. Indeed it seems that contrast serves an important function in the movement as also seen in the two dramatic fanfares hear towards the end.
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.
Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious
Johann Sebastian Bach was born on March 21st 1685. He is the son of Johann Ambrosius. For many years, members of the Bach family had held positions such as organists, town instrumentalists, or Cantors.
The Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.
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.