Facades And String Concerto No. 3 Essay

1a. The first piece of the concert was Divertimento No. 2 in B-flat Major, K.137, by Wolfgang Amadeus Mozart (1756-1791). This Divertimento has 3 movements:

composer Philip Glass' score to aid what's being shown on screen and provide meaning to what's

The abundance of harmonies never loses the thread to his audience. Furthermore, the opening of the slow movement inspires the imagination and attention of its listeners. All these elements make this piece one of the most successful concertos in the musical history.

But still, Brendel’s performance shares modern “strait” characteristics with Pollini’s recording because of its accuracy from the text. It was more difficult to find recordings earlier than the 1950s, but recordings from Walter Rehberg, Edwin Fischer, Vladimir Sofronitzky and Elly Ney proved that earlier approaches to the Wanderer Fantasy were somewhat different. Their practices of this piece were marked by agogic accent, rhythmic nuance, in a way with more freedom from the romantic approach and less accuracy from the “straight” playing.

inspiration for the composition of the piece, as it was written in French to make use of the language’s sound and enhance its decadence.

His first major work upon returning to America was "Symphony for Organ and Orchestra" which he wrote just for the few performances of Nadia Boulanger; the first one in Carnegie Hall in 1925 and another in Boston. As the twenties roared on, Copland began to show how his musical career would truly follow the ever-changing style of America.

Sound painting is also displayed in many of the works. The entire pieces except Stravinsky’s I would say are undoubtedly romantic works. An additional unifying theme that I detected in all the pieces was that there lies unconventional beauty and one must carefully listen to recognize its presence.

The orchestra has achieved success through its various Grammy awards and many recordings such as Dvořák cycle of Symphonies No. 6 through 9, works by Gershwin including Rhapsody in Blue and the Piano Concerto, Bartók’s Concerto for Orchestra, Music for Strings, Percussion and Celesta, and Mahler’s Symphony No. 1.

The conveyance of distinctive visuals within texts draw profound significance to the various aspects of life poised within their stories. Performed with the aim of elevating the audience’s understanding, this can suggestively nurture the common response amongst them of the significant aspects of life, thus, referencing a deep awareness of the composer’s concerns. This is clearly evident within John Misto’s play ‘The Shoe-Horn Sonata’ in accompaniment to the listening stimulus of John Misto’s Interview and Peter Skrzynecki’s poem ‘Crossing The Red Sea’ through the exploration of delicate notions such as the journey through times of hardship and suffering as well as the hope of survival and sacrifices.

By doing this, the sound made by the groups swells, portraying to the audience a sound of growth and progression. According to the textbook Music Appreciation Online, in this type of concerto, “a tutti section, a full orchestra (with basso continuo), and a small group of solo instruments usually referred to as the concertino or principale” is used. In the concertino section, two or more soloists are used. Arcangelo Corelli was the first major composer of the concerti grossi (the Italian form of the concerto grosso). The concerto grosso comes in two major forms: the concerto da chiesa (church chant) and the concerto da camera (chamber concert). The concerto da chiesa was used for formal occasions and alternated between adagio and allegro movements. For the most part, the movements were written in the same key, however there were occasions where one or more of the movements were in contrasting tonality. The sonata de camera was made up of a prelude and a succession of dances that were all in the same key. Its structure was that of a slow introduction, a fugued allegro, a cantabile slow movement and an energetic finale. This setup created its dancelike sound and feeling. The sonata da camera composition grew to be referred to as a suite, a partita, or in the French opera

In spite of his lack of widespread popularity, Walton was not unsuccessful, as a number of his works have entered the canon of commonly performed classical music. For example, his Viola Concerto, written in 1929, in spite of being rejected by its intended recipient, was taken under the wing of and premiered by composer and violist Paul Hindemith to rousing and lasting success. That piece, in Walton’s preferred Romantic style, harkens back to influences of Edward Elgar (1857-1934), particularly his Cello Concerto in E minor, Op. 85 (1919). Today, the Walton Viola Concerto is a staple, if not THE staple, of the viola repertoire.

Lutoslawski begins his first movement with an overture, creating a menacing tune using the drum. In his second movement, Lutoslawski creates a capriccio with the horn, strings, brass instruments, woodwinds and drums. Finally, Lutoslawski ends his Concerto for Orchestra in three sections. He begins with a dangerous tune on the drums. He then inserts a toccata, using the xylophone and violin to create a mystical tune. Finally, Lutoslawski’s finale is a haunting tune created by the snare drum, horns, flute, strings and xylophone.

In what period was the work composed? List three aspects of the musical style of this period that apply to this work.

Gustav Mahler’s “Songs of a Wayfarer” is a song cycle consisting of four songs. The songs are narrative, this is exemplified with the vocals. The first movement, “Wenn mein Schatz Hochzeit macht”, begins with scurrying, festive sounds played by wind and percussive instruments. The upbeat sounds contrast the slow, reflective vocal melodies. Around 2:26, the music transforms into a slow, heavy, and mournful melody. This melody is emphasized with the use of woodwind and string instruments. The second movement, “Ging heut Morgen übers Feld”, happily opens with a predominant use of flutes and high string instruments, with the occasionally triangle emerging at 0:43. This movement is the most cheerful of all four movements. The flute gives the entire

Phillip Glass is a unique artist with different musical influences that drove him to create pieces for orchestras, operas, chamber ensembles, film scores, and commercial music. All his pieces, especially Koyanisqatsi and Einstein on the Beach are built with the repetition of a couple notes. Glass becomes obsessive over these repetitions and they began his staple. Glass’ music is highly relatable and may be familiar, but that is not due to his use of repetition. Unlike many of the composers who influenced his work, and other present-day composers, Glass created a style of repetition unlike any other composer. U, Glass may change a single note, which would sound similar to the original repetition, but it creates more layers.