Is Paul Wranitzky's Octet For Winds In F-Major?

The evolution of the Sonata form in the Classical period and the Romantic era gave composers a platform to encourage and indulge their curiosity. Theses composers took a form an exploited it as limitless. They introduced new elements that combined the classical and romantic era bridging them like star crossed lover’s. In this essay, my aim with this paper is to present how one of the greatest forms in music inspired genius throughout the classical era and beyond.

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.

This paper will begin with a brief discussion of sonata form, which will define many of the terms used in the remainder of the paper. Next, a detailed explanation of first-movement concerto form as it was understood in Mozart’s time. Following this, Mozart’s habits of altering tradition will be established, and there will be an analysis of the alterations he makes to first-movement concerto form in his Clarinet Concerto K 622, and how they foster unity.

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 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.

The development of symphonic music during the Classical Period is greatly responsible for shaping today’s orchestral music landscape. Beethoven’s Fifth Symphony is often considered to be the cornerstone of the symphony genre evolution. While his grand gem is somewhat revolutionary and unique to a certain extent, such as ‘expanding the brass section in the final movement.’ [1] On the other hand Berlioz’s Symphonie Fantastique is filled with minor references to Beethoven’s Fifth Symphony

Born Dmitri Dmitrievich Shostakovich on the 25th September, 1906, in St. Petersburg, Russia, the composer began his descent into classical music at the age of 9, before later moving on to study at the Petrograd conservatory. Throughout his life he compiled 15 symphonies, 15 string quartets and 36 film scores as well as many other compositions. Within his musical work and the course of his career Shostakovich managed to both adhere to traditions set within classical music as well as dissent from them, I will be exploring these.

I went to the Colorado Springs Philharmonic on October 22 2017, the concert was performed at the fine arts center and lasted 2 hours. The Colorado Springs Philharmonic performed under Josep Caballe-Domenech the conductor. The concert was put on as part of the October arts month at the Fine Arts Center. The Music was from the Romantic Period, it featured a full symphony. The musical instruments that were featured was a full range of strings including: violin, viola, double-bass, and the cello. It also featured a whole set of brass and wind instruments.

Two versions of the piece will be created.There will be two versions of this piece. The first will be the composer’s original manuscript, the control. The other version will be same piece but will be void of a title, tempo markings, articulations, or any other indicator of the composer’s intent. The object of this process is to rid conductors of any preconceived notions he or she may have based on the markings on the score. The score will be sent to ten conductors of varying school/performer ability levels: two middle school directors, three high school directors, four collegiate/professional

“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the

I observed Wind Orchestra’s rehearsal on March 17th, from 4:00pm to 5:30pm, conducted by Dr. Hunt. Before rehearsal starts, all instrumentalists went over one scale and arpeggios and chromatic. and they tuned their instruments in A and Bb.

Pyotr Ilyich Tchaikovsky was born in Votkinsk, the Viatka District in Russia on May 7, 1840 to a Russian miner and a mother of French origin. During his early life, Tchaikovsky did receive some musical training from a French governess in the form of piano lessons, but the training did not continue. As a young child, Tchaikovsky's family moved to St. Petersburg because

Symphony No.8 in B minor, D.759 is written in late Classical/early romantic period by an Austrian composer, Franz Schubert. He started composing the piece in 1822, but ceased after he completed the second movement. Although the first and second movements were orchestrated by him, he has also left a piano score of the third movement, Scherzo, which is nearly completed (up to bar 120) and the first 20 bars of its orchestrated score. Schubert has left brief notes on the manuscript for the first three movements, but he simply wrote ‘flute’ for the fourth movement.

Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.

The five-movement symphony fantastic is considered by many as Berlioz's outstanding work due to its fame. When the work was