Mozart Symphony 552

Theme A of the sonata is rhythmically clear and is initially exposed by the flute, whereas theme B is somewhat diffuse in its melodic profile. It is a structurally very complex movement.

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The first part of the concert played Beethoven’s Choral Fantasy, also known as Fantasia, and it lasted less than 30 minutes. It opened with a lady named Anastasia Markina, and she introduced the piece with a slow virtuoso playing of the piano, to which later on the strings, cellos and basses, enter. Then Markina played an ornamented version of the choral theme, to

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 third piece is Musica Celestis, composed by Aaron Jay Kernis in 1990. Its orchestration includes strings only. Its duration was 13 minutes. It is filled with warm harmonies. The beginning is very soft and deep (piano). As it goes along, the pitch and the dynamics become deeper, louder and more passionate. Scales keep ascending quickly, as if it is reaching a climax, until a full sudden stop is reached. After that, the music returns slowly and becomes deeper towards the end. This was my favorite piece in this whole performance. The listener can plunge into deep affectionate feelings. It was easy to imagine a scenario or a story by listening to its soft well-connected harmonies.

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.

The first and opening piece was a Roman Carnival Overture, Op. 9, by Hector Berlioz. In major tonality, classical piece started with vivace statement, and then slow introduction progressed later in allegro. It featured an independent solo that was performed with an English horn and gradually changed dynamics throughout the classical movement.

Mozart’s symphony No. 40 in G minor was written in 1788, some refer the this symphony as the “Great G minor symphony” this so that it can not be confused with the “Little G minor symphony No. 25. There are several rumors of why Mozart wrote the symphony for posterity, so suggest the he wrote it with the intent that no one would ever hear the composition.

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.

Johannes Brahms’ Symphony No. 1, 4th Movement is monumental. The final movement begins with an extended slow introduction with a dark, ominous tone played by wind instruments. The beginning (around 2 minutes) shows a strong resemblance to the ending of Beethoven’s No. 9 Symphony Finale. There are low string instruments accompanied by surging wind instruments. Both pieces contain exhilarating melodies that close with a triumphant ending in a major key. The introduction concludes with a distinguished chorus of brass and woodwind instruments that was heard before in the beginning.

The piano concerto in the 1800s was still very standard. By 1850, the piano was still being used in a conventional manner. The two Brahms piano concerti are demonstrative of Brahms employing a classical, conservative style. The first concerto is in a traditional three movements, with a long orchestral introduction, a slow second movement, and a rondo finale. The second concerto came decades later and is in four movements. In the first movement, the piano interrupts the horn solo that begins the piece. The second movement is a scherzo. The slow third movement has a cello solo beginning the movement, giving a prominent role to the orchestra, not just the piano. The final movement goes back to tradition. Both concerti are exceedingly long, clocking in around fifty minutes.

Beethoven’s symphony No. 5 in c minor, Op. 67, I has four movements allegro con brio, andante con moto, scherzo allegro, and allegro. The first movement is a sonata that contains a motif and fortissimo phases using imitation and sequence with a constant flowing melody. The second movement contains two themes in alternation. The first theme starts later followed by the second which later dies of as a third theme is born followed by fortissimo The third movement contains a scherzo and trio and is in ternary form the theme is immediately stated and continually gets revived. The fourth and final movement starts immediately after the third and is a variation of a sonata. The piece has strong cadence and recapitulates only to finish in an extremely

The first movement, marked Allegro ma non troppo, is in the classical sonata form, featuring 2 contrasting motives, one very triumphant, energetic, another sweet and lyrical. The movement begins with orchestral tutti introduction, vaguely featuring fragments of the 2 motives. Harmony-wise is relatively simplistic, emphasising greatly on dominants and tonics. The orchestral introduction ends with 5 measures of cadential six-four while raising a massive crescendo from piano to fortissimo, landing on a cliffhanging dominant seventh chord. After the stillness, a solo timpani begins a ‘march’, repeating a tonic F at pianissimo, creating a so-called ‘theatrical expectancy’, which contrastingly and explicitly brings out the triumphant bassoon solo militaristic first theme, effectively heightened the sense of

There were a total of four music pieces performed. They were “Overture from the Singspiel”, “Concerto in e minor”, “Concerto on b minor,opus 104”, and “Symphony#2 in b minor, opus 5”. I think pieces were performed belong to classical style.

In my introduction to music class we were assigned to listen and evaluate a particular piece of music in order to reflect on our unique individuality. For my project I chose Wolfgang Amadeus Mozart 1756-1791 and his work of the piano concerto No. 23 in A Major specifically the second movement that was created in 1786. In addition to listening, the piece must be broken down and organized into themes or motives. By the end of the project we should be able to provide an “aesthetic blueprint” of the work by using vocabulary terms that we have learned over the course of the semester.