The piece I have chose to analyze is an online video recording of Beethoven Egmont Ouverture, Bruch Violin Concerto No. 1 and Mahler Symphony No. 1 preformed by the Royal Stockholm Philharmonic Orchestra led by the conductor Christoph Eschenbach and violinist Ray Chen. Over the 101 minutes recording there are many great examples of the concepts learned in the course. Throughout the piece I found myself taking the role of a referential listener. Which I believe to be something I naturally am rather than it being a comment on the piece. While listening I found myself hearing less of the music and instead picturing different landscapes in my head. In some parts I saw beautiful fall forests, with changing leaf colors, and the wind blowing. …show more content…
Also it seems that both the instruments used and their arrangement amongst one another is done in a way that resembles how it would have been originally played. The first piece, Beethoven Egmont Ouverture, Bruch Violin Concerto No. 1 was particularly good I thought and exhibited a lot of the concepts we have studied in this course. For example unity, throughout the piece I felt that there was a strong backbone section which kept the piece feeling familiar. Even when there would be seemingly unrelated ideas thrown in, I always felt that it was taken back to familiar ideas. Having said that there was definitely a lot of variety in the piece. There were several ideas throughout, which sometime would come back in a pattern while others would only make an appearance once. There was also a lot of variety in the volume or dynamic of the piece which gave a nice variety to it. Additionally several different instruments were used which gave several different timbres. The tempo also varied a lot within the piece. Going from fast to slow and vice versa, and with different accelerations which gave it a nice feel. The overall rhythm of the piece was nice and polyphonic. This piece was made in the classical era of art (2). The second piece, Mahler Symphony No. 1 was not as good for me, although it still exhibited a lot of the concepts we have studied in this course. For example
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 mood through-out the piece to me seemed to have a lightness and grace to it. During the piece I also realized that you pick up on a dark undertone. The dark undertone is in the harmony of the
There was such a variety of topics covered in this course and I wish that I had taken it in a classroom instead of online. With this online course, I feel like the material went a little too quickly. If I were in a classroom setting, I feel that
An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.
For my first paper, I chose to write about Beethoven’s Symphony no. 6 conducted in Rome by Claudio Abbado in F Major. I chose this symphony based on the description of the symphony which is a program symphony that transfers the listener to an outdoor setting. I had not listened to Classical music since taking music class back in the sixth grade, but I am almost certain we covered Beethoven’s symphonies. Upon hearing the first fifteen seconds of the piece, I was transported back into both my middle school class and a setting where I felt like I was actually immersed in most of the feelings described in Beethoven’s words of his symphony. The symphony is a Sonata form which we learned is work written as absolute music written for a specific combination
Plantiga, Leon. "Beethoven's Concertos: History, Style and Performance. " New York: W.W.Norton, inc., 1999. pp.3-21, 113-158
Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and
Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.
Today, classical music by many can be seen as a dying genre of music. Not often do people attend concerts to be moved emotionally, for entertainment, or as a means of socializing. Though groups such as 2Cellos, Piano Guys, and the YouTube Symphony Orchestra have recently driven people back to concert halls and have them watching classical performances online. The YouTube Symphony Orchestra has made a significant movement to this genre of music by live streaming their performances (one in 2009 and the other in 2011).
The first piece was Bach-Siloti Prelude in B Minor, BWV 855a. This is a very slow and somber piece. This is the oldest piece written and is very different as it is the slowest most repetitive. Most of the piece was in a piano with occasional fluctuations in dynamic. The piece overall was rather simple without too many chords or complex notes. This allows the audience to hear the melody without too much distraction. The second piece was Beethoven Sonata No. 30 in E Major, op. 109 This piece is much faster and more exciting as the contrast from slow and peaceful to intense and loud with many chords. This piece didn’t repeat nearly as much as the first but still had very repetitive sections. The tempo would change
Beethoven’s works are typically divided into three different periods. During the first period, to 1802, Beethoven incorporated the musical language of his time while developing his own unique compositional voice. During this time, he wrote six String quartets, the first ten piano sonatas, the first three piano concertos and the first two symphonies. The second period last until about 1816 and showcases his individualism more than ever before. During this period, he wrote Symphonies Nos. 3-8, the last two piano concertos, the Violin Concerto, the String Quartets Opp. 59, 74 and 95, and the Piano Sonatas through Op. 90. The third period is recognized as
I choose “Symphony No. 9 in D Minor, Op. 125, "Choral": IV. Ode to Joy” composed Beethoven. I have no specific reason why I picked this song, besides the fact that I admired Beethoven when I was young. When I listened to the piece the first time I was surprised by its dynamics. In my head I have this preconceived idea that classical music was soft. I did a little research on the classical era and discovered; that music was an important part of society at the time and Beethoven was one of the top composers at the time. I was also informed that the all classical music was dynamic, the song could be quiet one minute then loud the next. In the beginning of “Symphony No. 9 in D Minor, Op. 125, "Choral": IV. Ode to Joy” it seemed to drag, and then
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 piece is very different from the other pieces we have listened to in this course. I feel
The two pieces I have chosen to study are part three of Muse’s Exogenesis Symphony entitled Redemption and Prelude in C sharp minor for solo piano by Sergei Rachmaninov. I chose Exogenesis initially as it was by one of my favourite bands, and it was from the first album of theirs that I can remember being released. Exogenesis featured as a three part symphony at the end of The Resistance, which I usually skipped, being eleven years old and mainly into rock music. However as I have acquired an ear for more classical music I have grown to love this piece; it made me realise that classical instruments could be used in other genres of music and that,