Music Essay

The second movement of Beethoven’s Sonata in A Major, Opus 69 was Scherzo: Allegro molto and began with Jordan-Anders playing the opening notes of the melody in a narrow range with a melodic movement that was conjunct. The texture here was monophonic for only a few measures. The timbre of the piano was bright and the harmony was minor. I heard the second movement in triple meter, and by the time the cello began to play there seemed to be a return to the polyphonic texture which was common in the first movement. The movement of the melody was disjunct with a medium range, the dynamics of the piano soft (piano) and the tempo

To assign the first movement of Beethoven’s Ninth Symphony the sonata form would truly be a subjective judgment. I will first explain how this movement fits thesonata form; then I will discuss how it diverges from this form in rather fascinating ways.

Mozart was an extremely childish, immature person; yet one of the most talented musicians of all time.

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.

Wolfgang Amadeus Mozart baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart lived from January 27, 1756 to December 5, 1791. Mozart was a very influential and prolific composer of more than 600 works, including symphonies, concertante, chamber, piano, opera, and choral music. Regarded as a child prodigy, Mozart composed and performed in the European courts from the age of five, and was engaged at the Salzburg court at 17. Mozart’s musical style can be classified as Classical, although he learned from many of his contemporaries throughout his musical career. In order to better understand Mozart’s genius it is best to begin looking at his earliest contributions to the musical world as a child. From there, an exploration of his

Composing works derived from styles already in existence, he created an extremely unique and unprecedented genre of works. Thus Mozart became a trailblazer of the classical age. Music from this period consists largely of a lighter and clearer texture than the preceding Baroque music and is less intricate. One trademark especially evident in Mozart’s contribution to the classical period is the use of homophony. Examples of the homophonic effect are displayed in his piano concerto No. 23 and sonata No 16 in C. In these, the distinct pattern of an indubitable melody can be distinctly and easily recognized above the adjunct chordal accompaniment. Although Mozart contributed primarily to the growth of the classical era, he was also influenced by the works of Handel and Bach. Both were prominent composers of the baroque era. In some of his later works, Mozart indulged more in the incorporation of the previous baroque

The third movement lead straight into the fourth, and that lead into the fifth movement without missing a beat. The fifth and last movement of this symphony is in sonata rondo form, which is a blend of the two. A rondo is when the first theme, A, repeats several times with other music (B, C). This form then also shares characteristics of the sonata, so it has a development section as well that is common in sonata

20. Discuss the classical concerto. What is a cadenza? A classical concerto usually has three movements occurring in the same order of tempos as the Italian sinfonia: fast-slow-fast. Cadenza is an extended virtuosic passage for a solo instrument.

Wolfgang Amadeus Mozart was one of the greatest composers of the classical period. Mozart was bound to be successful after many achievements at a young age. At the age of 6 he could play the violin and the harpsichord, and he also perfected first sight. And Then at the age of eight he wrote his first symphony, than a couple years later at the age of eleven an oratorio and finally at the twelve an opera. To me that’s a really good resume its so remarkable how he could learn about music so much at a very young age. All of these achievements could not go unrecognized. The archbishop recognized him and gave him a job for his teenage years. But Mozart was too much to handle he wanted to write whatever he want and not the archbishop so he quit. After

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

By doing this, the sound made by the groups swells, portraying to the audience a sound of growth and progression. According to the textbook Music Appreciation Online, in this type of concerto, “a tutti section, a full orchestra (with basso continuo), and a small group of solo instruments usually referred to as the concertino or principale” is used. In the concertino section, two or more soloists are used. Arcangelo Corelli was the first major composer of the concerti grossi (the Italian form of the concerto grosso). The concerto grosso comes in two major forms: the concerto da chiesa (church chant) and the concerto da camera (chamber concert). The concerto da chiesa was used for formal occasions and alternated between adagio and allegro movements. For the most part, the movements were written in the same key, however there were occasions where one or more of the movements were in contrasting tonality. The sonata de camera was made up of a prelude and a succession of dances that were all in the same key. Its structure was that of a slow introduction, a fugued allegro, a cantabile slow movement and an energetic finale. This setup created its dancelike sound and feeling. The sonata da camera composition grew to be referred to as a suite, a partita, or in the French opera

In Salzburg, Austria, Wolfgang Amadeus Mozart was born on January 27, 1756. Wolfgang was the only son of Leopold and Maria Pertl Mozart to survive. Wolfgang began learning about music when he was three years old, watching his sister Nannerl play the keyboard. He was a musical prodigy, composing his first piece at 5, and beginning “tours” with his father at 6 years old. When Wolfgang turned 13, his father took him to Italy to show off this young boy’s talents. Before Mozart turned 21, he was appointed to be assistant concertmaster. It was at this time that he wrote his first opera. Mozart left on another tour in 1777, and then returned to Salzburg to be a court organist. He soon decided he was not so fond of this position, and resigned to become a freelance musician in Vienna. When he moved to Vienna, he married Constanze Weber, against his father’s wishes. Wolfgang lived in luxury during the beginning of his life in Vienna, he was producing popular operas. Soon, though, he began to lack money, and took loans that would leave him in debt for the rest of his life. In the final years of Mozart’s life, he was most productive, writing his most famous symphonies, The Magic Flute, and of course,

Trio Sonata also uses engaging rhythms and harmonies, for example, the 7-6 suspension in bar 9 and the hemiola before the perfect cadence in bar 28. Corelli also uses an inverted tonic pedal in bar 15 to create a sense of strength and anticipation before the start of the B section. “Unity of mood in Baroque is first conveyed by the continuity of rhythm.”3 This quote shows the importance of rhythm in the Baroque era, particularly lively, driving

The third movement was lighter than any of the other movements. But the middle section referred to the single note motive which was grown as symphony progressed.

The first movement of the third sonata is the most experimental, the one which deviates most from Classical form and harmonies. The exposition, in particular, is more like a fantasy than a sonata. The sonata opens quite promisingly. A descending broken chord followed by ascending march-like chords creates the primary theme (mm. 1 – 4).