Music Paper Chapter 1

For the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th movement.

We can usually listen to the music in various scenes in life. But we don't often just concentrated on listening. The same was the case with me before. Especially, I was ignorant in classical music. But now I like listening to orchestra concert from the front row seats. It is a quite wonderful experience. Since my children start learning how to play the violin, I came to listen to classical music. After I could a little understand artistic features of classical music, I listened to it with rapt attention. I especially came to like Tchaikovsky's Violin Concerto. I was listening it through only my computer, but on the whole I was satisfied.

The concert began immediately with the Chamber Orchestra’s performance of Mozart’s “Divertimento in D major”, K. 136. This piece consisted of the 3 movements, Allegro, Andante, and Presto, which follows the fast-slow-fast arrangement typical of the Classical era. Divertimento is one of Mozart’s “Salzburg” symphonies, which are symphonies performed by only string sections. After the performance of this piece, the conductor commented on the 2nd violin’s part, and drew the conclusion that Mozart must have saved that role for either himself or an enemy. The second piece performed by the Chamber Orchestra was Bach’s “Suite No. 2 in B minor”, BWV 1067. This piece did not require a conductor, and also featured a flute soloist, Maisa Peters. Their

This concert is performed in the Avery Fisher hall within the Lincoln Center in New York City. It was performed on July 29, 2008. The orchestra that is performing is the 42nd Mostly Mozart Orchestra. The conductor is Louis Langrée. The two pieces being performed in this concert is Mozart's Symphony No. 40 and Mahler’s Das Lied von der Erde.

One of the problems clarinetists of the 21st century face when performing Mozart’s Clarinet Concerto, K. 622, is creating a performance that is memorable while keeping the authentic integrity of the work. Many clarinetists who perform this work are often concerned with how they should the approach and execute the concerto. Any musician who tackles any new work will approach it by researching historical information on the composer and work, do a musical analysis, and gathering recordings of other interpretations of the same work. This approach will not only allow the performer to be fully immersed in the piece but allow for the performer to create a memorable interpretation.

A prolific and most influential composer of the classical era, Mozart had been destined for “greatness” from the moment he began looking on at his sister’s lessons as a toddler. Born in Salzburg Austria, to Leopold and Marie, young Mozart and his sister were the only surviving children of 7. His father was a successful composer, violinist and assistant concert master of the Salzburg Court. Both Mozart and his sister were tutored by their father, a devoted, task-oriented teacher. Young Mozart soon excelled even above his father’s teaching ability. At the green age of six, he performed as a child prodigy in the royal courts at London, Paris, and Zurich. Mozart spent his youth constantly on tour. These tour were financed through donors and patrons. Through the years, and while abroad, Mozart met many accomplished musicians such as Johann Christian Bach, George Frideric Handel, and Joseph Haydn.

Thesis: Wolfgang Mozart’s Symphony No. 40 in G minor has been admired and analyzed numerous times. Although it has been criticized by many, I believe deeply interpreting this piece will aid in a better understanding of the music during the Classical

In the 18th century, the concerto was transformed into a viable instrumental genre to both demonstrate virtuosity as well as a cohesive character that embodied the natural. Though the series of changes from the Baroque concerto grosso to the Classical concerto were gradual and cannot be attributed to a single composer, the Piano Concerto No. 20 in D minor K. 466 by Wolfgang Amadeus Mozart is a skillful representation of the genre in that era. Of particular interest in this concerto is the treatment of sonata form in the first movement. When compared to other instrumental genres of that era, there is a tangible divide between the sonata form of the concerto and that of other instrumental genres such as the symphony. To understand this

Wolfgang Amadeus Mozart was known as one of the most remarkable and talented composers that ever lived. At 6 years old, he was already a master of the piano, playing at the level even experts with years of practice could never dream of achieving. Over the course of his life, he authored over 600 musical works, each one being better than the last. After the death of Mozart, people were left clueless as to which musical composition he would be best known for. However, one thing was certain; his best composition that only involved the piano was titled, “Turkish March.” It has become so popular in today’s society that other artists have created their own versions of the masterpiece. The most viewed version comes from a teenager by the name of Alex Brachet.

Overall, I thought that this symphony of Mozart was well played by Orchestra Philharmonic Della Scala. I also think that this is a beautiful piece of music, and it is probable my new favorite symphony. One feature that I really liked about this symphony is the first and the second movements. I like the steady pace of the music and the instruments in the first movement, and I like the calmness of the second movement. One discovery that I have made is how respected the conductor and the pianist are in this concert. I saw how respected Pollini and Muti are at the end of the symphony by when the audience had them keep coming back out to bow to them. Another discovery that I have made is in the third movement. I noticed that it felt like the music

On December 9, 2014, I attended classical music artist Philippe Quint’s guest appearance performance (at The Scripps Research Institute), which is part of the San Diego Symphony’s Chamber Music Series. Along with Mr Quint, Pei-Chun Tsai, Wesley Precourt and Edmund Stein delighted the audience with their sensitive artistry with the violin. Jeeyoon Kim so elegantly played the piano, Frank Renk demonstrated his talent on the clarinet, Aj Nilles and Jason Karlyn played the viola, while Xian Zhou and Chia-Ling Chien played the cello. This program included two pieces by Serge Prokofiev; the Overture on Hebrew Themes, Op. 34 and Violin Sonata in D Major No. 2, Op. 94bis, and Piotr Ilyich Tchaikovsky’s Souvenir de Florence, Op. 70.

In seventeen eighty-four, Mozart started to work on this beautiful concerto. On the seventh day of March in seventeen eighty-six, around the same time when Le Nozze di Figaro (The Marriage of Figaro) appeared, he finished the magnificent concerto. The lovely concerto contains many instruments, including the piano, two clarinets, the flute, two horns, two bassoons, and string instruments. Heaven only knows for sure where and when the first concerto was performed. However, on the twelfth day of January in nineteen thirty, George Stewart McManus performed the marvelous concerto in Los Angeles for the first time. The delightful concerto’s duration is no longer than twenty-six minutes. Since early seventeen eighty-six, around the time when

Suddenly my mind was at the moment of being exploded because of the awesome, beautiful sound that I heard above. The song that I loved the most was "In Kräftigen, nicht zu schnellem tempo."As Ms. Kopatchinskaja played this first music it had sounded so peaceful, but dark and horrifying sound. The concert outlined one work that is "Schumann, Violin Concerto". There are three movements of this work which is written all by Mr. Schumann the famous composer.

In the first movement of Wolfgang Mozart’s piece Eine Kleine Nachtmusik, it presents numerous features of what is being used during the classical period of music. The recording that was made by the Prague Chamber Orchestra is a good way to hear all of the classical features in the first movement. The first movement is the first track on the album that was published in 1985. While it has an excellent recording of the movement, it is not a traditional quartet but a larger ensemble. Along with that, the score to the piece itself is a good aid to see the features presented as well. It is a good visual aid to pinpoint where the classical features are in the first movement, and it is good to use along with the audio recording so the listener can see where the features may be without fully analyzing the movement, despite it being a mini score. With its features, it is also in a very popular form that was used during the classical period. In his article “Sonata Form”, James Webster breaks down and describes what sonata form is and how it was used. He also briefly discusses the distinction between sonata form and its other related forms even though the first movement to Mozart’s piece is in one version of the sonata form. One biography about Wolfgang Mozart, which was found on The Biography.com, discusses his entire life. They talk about from when he was just a child learning to how no one knows he died. Although it does go into great detail, it does not mention his

The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean in 1777, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K. 313 being the first. The Andante