Franz Schubert

Johannes Brahms was a German Composer, Pianist and conductor of the 19th century or the Romantic period. He was one of the 3 B's or the Big three: Bach, Beethoven and Brahms. Johannes was a very self-critic man he burned many of his pieces before he could get anyone's opinion on them and he burned all of his compositions that he wrote before the age of 19.

Both Haydn and Beethoven are known as two of the greatest classical/romantic composers in the history of music. Haydn is identified as the father of modern symphony, as well as the father of the string quartet. He has played an essential role in developing the piano trio and the sonata form. Beethoven is also a widely recognized composer in Western music, his style joined the lull between the Classical and Romantic eras. Beethoven traveled to Vienna when he was young to study under Haydn. However, due to disputes and differences between the two composers, lessons only lasted for a little over a year. The teachings, if only for a short period, left a mark on Beethoven, and can be observed in his compositions.

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.

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.

The melody in the first movement opens with the violins and they are then accompany by the violas and the cello. As you keep listening you notice that French horn, clarinets, flutes, and oboes contribute to the harmony. The first movement is also in the key signature of G minor. As you move through the first movement you enter into the second section which is in a different key. The key signature of the second movement is in B flat major. The instruments that have the melody this time are the violins along with the clarinets and bassoons.

In a variant of sonata form, Beethoven recalls themes from the third movement. Berlioz’s fourth movement is quite dramatic as an execution is portrayed in the music, one must take into account that this was not the finale of the Fantastique as Berlioz decided to add another scene in the text. On the other hand, following the man’s death, there is a roaring triumphant ending; similar to Beethoven’s extended coda. (Please see next page for example).

When the concert first began, the three instrumentalists walked with energy despite their age. The first song, “Sonata I in G-Major Op. 2, Nr. 1” by Michel Blavet, was a Baroque Sonata. There were five movements and was played by the harpsichord, flute, and cello. All movements of the song were polyphonic because of the three instruments that had different parts and equal importance. In the first movement, I noticed that the flute tended to rise in pitch. In the second movement, I noticed that the melodies often repeated. Throughout the rest of the song the tempo changed from fast to slow and the flute would usually take the lead. On the last movement, the cello and the harpsichord

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 concert started off at a quick and stimulating pace with Brahms’s Sonata for Two Pianos in F Minor. The piece starts with descending arpeggios echoing a sensation of distress or confusion. There are frequent slight pauses, creating a sense of suspense for what is to follow and building on the emotions

The first two pieces in the program were by Austrian composer Franz Schubert 1797-1828. In 1808, through a competitive examination, the eleven-year-old Schubert was accepted into the choir of the Imperial Court Chapel as well as the Royal Seminary. He was a shy youth, and spent most of his spare time practicing and composing alone. When Shubert was fifteen his voice changed and he left the choir but continued to study at the seminary. As discussed in lecture, each period of music has a chain reaction between artists who are affected by the events of their environment. Post war 1950’s America had the progression of Jazz with artists such as Charlie “Bird” Parker pushing the limits of the saxophone to create the bebop sound, echoed in the rhythm of prose of writer Jack Kerouac and Jackson Pollock’s abstract of the brush. Franz Schubert’s fellow artists were no different at the turn of the eighteenth century as the

Wolfgang Amadeus Mozart is an amazing composers he wrote music and excelled in every way. This talented composer was born on January 27,1756 in Salzburg, archbishopric of Salzburg Austria. At a early age this composer talent for music was remarkable at the age of three he was picking chords on the harpsichord. At the age of four years old Mozart was playing short pieces of music. A year later when Mozart was five he started to compose music. He had a precise memory when it came to pitch years later at the age of eight Mozart wrote his first symphony. With this gift of music and composing Mozart began to travel all over Europe with his father. Mozart father was a violinist and a composer they started to play together between the ages of seven and Mozart spent half of his time on tour. While Mozart was on tour he heard a variety of sounds and developed his own mature sound.

Many prominent musicians produced major works during the romantic period. Among these are Beethoven, Strause, and Bach. But the musician that I think had the most impact, was Franz Schubert. Franz Peter, born on 31 January 1797 was one of fourteen children born of Franz Theodore Schubert and Elisabeth Vietz, four of which survived. He grew up in an apartment that daily converted to a classroom in which his father taught several elementary school classes. He received a thorough basic education; his father being a good teacher, and son being a bright student. From his father Franz also learned to play the violin, and from his

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

(2) Schubert was one of the most prominent composers in the Romantic era. He was the first composer to live off only the money he got from composing. He wrote many compositions during his short lifetime, especially art songs (“OnMusic”).

The listener would perceive the slow-moving idea (mm. 23 – 29) which follows as the second theme, if it were not for its fleeting mysteriousness. It provides a contrast to the majestic themes which opened the movement. The harmonic ambiguities, created by the chromaticism, are very progressive for the Romantic era.