Moravec's Montserrat: Concerto For Cello And Orchestra

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.

Sonatas composed from 1773 to 1784 were intended as “public” works from the very beginning, with a clear conception of the taste, preferences, and instruments available to the musical public of Vienna. The Sonata in F Major, Hob. XVI: 23; L38 written in 1773 for solo harpsichord is the best known and most virtuosic of

It had to be Juliek. He was playing a fragment of a Beethoven concerto. Never before had I heard such a beautiful sound. In such silence.” When Juliek was playing the violin, it was his hope or his life.

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.

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.

Beethoven’s work appears to have had a strong influence in the compositions of Berlioz, as a matter of fact; Berlioz was mainly responsible for making Beethoven’s compositions famous in other parts of Europe through performance. Berlioz’s

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.

Ever since his father began teaching him as a child to play the violin and clavier, any keyboard instrument such as the harpsichord, Ludwig van Beethoven has been amongst the most renowned and influential composers of music. Despite the harsh punishments and mistreatment Beethoven suffered through while practicing with his father, he still managed to become a “prodigy” at a rather young age, having his first public recital at around seven years old. After his first recital role music played in his continued to grow, and soon after dropping out of school to pursue music “full time” he published his first composition.

Leonard Bernstein is seen as one of the greatest composers in America. Bernstein composed great music, conducted great music, and also preformed great music as a pianist. Bernstein is probably most known for his film score in the production West Side Story. According to The New York Times, he was "one of the most prodigiously talented and successful musicians in American history.” Being born and educated in the United States, Bernstein was the first American to obtain worldwide acclaim. He is also cited in the Encyclopedia of World Biography, that “his special gift of bridging the gap between the concert hall and the world of Broadway made him one of the most glamorous musical figures of his day.”

Concerto No. 5 starts as a bright and happy song that is fast in pace and variety. Arguably, the most famous piece of this song occurs, more than once, within the first nine minutes. With harmonies layered and moving throughout the entire piece, there is a fullness and warmth to the song. The beginning of the song is play in allegro and alludes to something exciting or fun happening. The piece suggests movement.

Lamont Symphony Orchestra performed three beautiful sets of music that was conducted by Ryan Kozak with Hisham Bravo Groover, Assistant Conductors and Lawrence Golan being the Music Director and Conductor at Denver University on Thursday, November 17, 2016 in June Swaner Concert Hall at 7:30pm. Kozak conducted all three of the of the pieces; Danse Macabre Op 40 by Camille Saint-Saëns (1835 to 1921), Isle of the Dead, Op. 29 by Sergei Rachmaninoff which is my favorite out of all three pieces (1873 to 1943), and Symphony No. 5, Op. 107 by Felix Mendelssohn (1809 to 1847). Walking into the concert hall I was flabbergasted. The size of the room just amazed me and the stage was fantastic to say the least. Made me more excited for the show to start! As I sat down in my seat I noticed all the types of people in the concert hall were dressed in many different sets of attire. Elderly people were better dressed with their suits and dresses and pant suits where the younger people in the concert hall were still nicely dressed but were a little more casual. After what seemed like forever the lights finally began to go dim and I knew the show was about to start. In the first piece, Saint-Saëns, setting of the poem, the solo violin represents the devil who is playing his fiddle for the dance. The dance begins at the stroke of midnight in a graveyard. The harp begins the work with 12 strokes,

Since the Baroque era, the concerto has played a vital role in the music world. According to the Merriam Webster dictionary, a concerto is “a composition for one or more soloists and orchestra with three contrasting movements.” There are two main types: the concerto grosso and the classical concerto; both will be discussed later. While the term concerto is relatively easy to understand in context, when put into use the term becomes more complicated to define.

INTRODUCTION Attention getter: Whether in spite of, or because of his father’s excessive harsh and abusive methods of teaching, Beethoven was an extraordinary musician from an early age. He showed creative musicianship and imagination that reach further than any other composer ever has or possibly ever will.

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).

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.