Exogenesis

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

This transition creates a large contrast in not only meter and rhythm, but also emotion. Section C is different in that its meter is the least definite. Its meter starts out very slow, clearly slower than all other sections. Slowing the meter here feeds to a more solemn expression, which is a stark contrast from the faster, fuller, and more excited state of section A. A conveys a forceful, strong expression with its fast meter and strong harmonic chords whereas B has a softer tone and slower, patient rhythm. Contrasting rhythm and meter changes help lead to an emotionally charged piece, typifying music during the Romantic Era.

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.

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.

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

For my first paper, I chose to write about Beethoven’s Symphony no. 6 conducted in Rome by Claudio Abbado in F Major. I chose this symphony based on the description of the symphony which is a program symphony that transfers the listener to an outdoor setting. I had not listened to Classical music since taking music class back in the sixth grade, but I am almost certain we covered Beethoven’s symphonies. Upon hearing the first fifteen seconds of the piece, I was transported back into both my middle school class and a setting where I felt like I was actually immersed in most of the feelings described in Beethoven’s words of his symphony. The symphony is a Sonata form which we learned is work written as absolute music written for a specific combination

Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and

Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.

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.

The first piece was Bach-Siloti Prelude in B Minor, BWV 855a. This is a very slow and somber piece. This is the oldest piece written and is very different as it is the slowest most repetitive. Most of the piece was in a piano with occasional fluctuations in dynamic. The piece overall was rather simple without too many chords or complex notes. This allows the audience to hear the melody without too much distraction. The second piece was Beethoven Sonata No. 30 in E Major, op. 109 This piece is much faster and more exciting as the contrast from slow and peaceful to intense and loud with many chords. This piece didn’t repeat nearly as much as the first but still had very repetitive sections. The tempo would change

After a minor wobble of the director stand, a few adjustments and giggles, Symphony No.1 in D major began. The first movement started off with an eerie introduction, with the first two notes morphing into a birdcall as well as main theme but a very magical sound. It made for a very soothing, romantic time. Throughout the piece I felt as if it told a story as most music does, what I came to believe it was a love story. The Allegro begins in the cello with the second Wayfarer song, “Ging heut morgen Ubers Feld,” (I Walked this Morning over the Field). With a light and happy tone in the beginning as if two lovers had just met, this was the main theme of this movement. Suddenly there was a deep, heavy part maybe one of despair in paradise but that only lasted for a short period as it came to a victorious ending of happily ever after. (Kahn)

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

4 in C Sharp Minor is a sharp contrast to the etude prior to it. It contains busy 16th note melody that switches between hands throughout the piece making this the first etude that offers an equal challenge for both hands. This piece is written in the same form as the first two etudes (ABA) and also suggests origins in Baroque procedure. (Samson 61) The A sections consist of a constant 16th note line that alternates between hands while the other hand plays staccato, quarter note chords. The B section differs because the two hands join together and both play the 16th note melody. In the coda section, there are many large leaps in the left hand while the right hand plays an agitated melody containing jumps spanning about an octave.