Jean Sibelius Research Paper

I found this piece very interesting; it tells a clear story, and has a dissonant accompanist which makes it sound stylistically similar to the music of musical theatre.

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.

Out of all of Beethoven’s works, this one arguably stands as one of his most famous. Some say it is because of the heart that was introduced by a musician that was working only for himself, others claim he simply modified Mozart themes. Either way, the form is executed perfectly in a beautiful musical

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.

Beethoven draws the listener in by providing multiple repetitions of the short fast-slow-fast waves. As I listened, I took notes about things I felt while hearing this. I felt like each time the symphony almost mellowed out with the violins, the listener was relaxed, but then the “fast” part came which included more instruments, and I felt awakened. When all the instruments came to a perfect harmony, it was soothing and satisfying to hear. I could also instantly see the emotions painted on conductor Claudio Abbado’s face as the wave increased in volume before mellowing out

At 0:46 they introduce the first orator/conductor by the name of Michael Tielsson Thomas. Everyone applauds him. He explains what the audience will be in for for the evening. Then, clips of some of the orchestra members appear on the wall via projection. At 07:15 the orchestra then begins to play Allegro giocoso from Symphony No.4 in E minor, Op. 98 by Johannes Brahms from the Baroque Period. It was written in Austria by 1880s. The symphony is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle and strings.

Singer. Born April 25, 1917, in Newport News, Virginia. (Though many biographical sources give her birth date as 1918, her birth certificate and school records show her to have been born a year earlier.) Often referred to as the "first lady of song," Fitzgerald enjoyed a career that stretched over six decades. With her lucid intonation and a range of three octaves, she became the preeminent jazz singer of her generation, recording over 2,000 songs, selling over 40 million albums, and winning 13 Grammy Awards, including one in 1967 for Lifetime Achievement.

Nina Simone was one of the most unique, influential, and gifted singers of her generation. She was born on February 21, 1933 as Eunice Waymon, in Tryon, North Carolina. Her mother was a preacher and she started playing piano at an early age, around 3 or 4 at her mother’s church, as she was playing piano at a local recital she caught the eye of an older white woman willing to give her lessons. Nina went on to studying classical piano for 5 years with the woman, learning the stylings of the classical greats such as Bach, Beethoven, Debussy, and Brahms. As a child she felt so isolated, spending up to 7 hours a day practicing the piano, and growing up in the south in the segregation era, she felt as she could not fit in neither with the white or black community, even when surrounded by other children all they wanted to

Being a touring singing and performer can become a very rough and tiring job. Being on the road traveling for many months, playing different shows every night would make you really realize if singing is what you love to do. Ella was a singer for more than 60 years. Ella Fitzgerald goes down in history as one of the greatest female singers proven by the many awards and respect she received.

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 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

The first movement of Symphony No. 7 is noted for its long ascending scales as well as its applied dominants relative to its C major and F major modulations. The Introduction begins with a short A chord from the full orchestra. After eight bars, the piece has briefly entered the key of F major already and is now accompanied by scales of two octaves which begin softly, similar to the way a person creeps up and down a staircase. These scales repeat, gradually becoming louder and more extravagant. The third theme

The symphony consists of four movements. The first movement, Allegro vivace, is in sonata form. In the first theme (Ex.1), many sequences were used to construct the melody. And being inspired by Italian opera, Mendelssohn here tired to delay the closure of the theme as much as possible. While the second theme, it shares the similar materials as the first theme. In the development section, although a new theme appears, it consists of some materials of the first theme. Then, all these three themes appear again in the recapitulation, creating a sense of unity.

The second tool Berlioz employed in this symphony is rhythm. Berlioz uses a wide variety of rhythms in this piece ranging from quick, scurrying passages to calm, smooth melodies. The rhythm used in conjunction with the instrumentation helps to further expand upon the idea that Berlioz is trying to portray. The beginning of the fourth movement is supposed to be one of dread, the artist has just killed his love and Berlioz uses a slow and heavy melody to express this. The parts where Berlioz uses the horns to represent the crowd cheering are quick, giving a feeling of rejoice, of victory