One Classical Evening Analysis

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.

Born Dmitri Dmitrievich Shostakovich on the 25th September, 1906, in St. Petersburg, Russia, the composer began his descent into classical music at the age of 9, before later moving on to study at the Petrograd conservatory. Throughout his life he compiled 15 symphonies, 15 string quartets and 36 film scores as well as many other compositions. Within his musical work and the course of his career Shostakovich managed to both adhere to traditions set within classical music as well as dissent from them, I will be exploring these.

The Cosumnes River College Orchestra and Band presented their performance at Recital Hall last Wednesday. The event was presented by Jim Mazzaferro and Grant Parker. The Concert Orchestra portion, conducted by Jim Mazzaferro, consisted of collection of pieces composed by notable composers such as: Johann David Heinichen, Antonin Devorak, Antonio Vivaldi, Martin Grayson, and Wolfgang Amadeus Mozart. Concert Orchestra started with “Sonata for Violin, Flute, Oboe Viola and Bassoon” by Johann David Heinichen and continued with “Slavonic Dance No.3” by Antonin Dvorak. “Slavonic Dance No. 8” was the last composition in Orchestra’s program. After the intermission event continued with the Concert Band performance directed by Grant Parker. The program

There are lots of exceptional musical pieces composed by famous musical legends such as, the German music composer, aesthete, and influential music critic, Robert Schumann; who composed Symphony No. 4 in D-minor, Op. 120 in 1851. Or the distinguished Wolfgang Mozart, a prolific and influential composer of the Classical era, who composed over 600 works; one of which is Concerto in A-major for Clarinet and Orchestra, k. 622. These two musical masterpieces were performed at the UC Davis Symphony Orchestra, Mondavi Center, under the name of Spain 2012 on March 11, 2012; along with prelude “L’apres-midi d’un faune” by Claude Debussy. In this paper, I will be comparing the work of R. Schumann, Symphony No. 4, to the Clarinet Concerto, of W.

I have never had any sort of chance to see an orchestra or symphony play until Saturday February 6th, 2016 when I went to the Indianapolis Symphony Orchestra, and I have to say it was quite the experience. During this event, Krzysztof Urbanski conducted Music from 2001: A Space Odyssey which was a 1968 film which was popularly known for its use of classical music.

Prevailing from about 1750 to around 1820, Classical Period had truly distributed many wonderful and unforgettable remarks that help defining the word “Classical,” especially when referring to music style. Haydn, Mozart and Beethoven all left such remarkable and significant heritages that not only characterize Classical Era but also differentiate incomparable uniqueness among one another. Uniqueness such as styles, methods, and the ways of approaching the master pieces tends to be quite small in term of how they sound; nevertheless, the differences to be compared and contrasted are still and always there. Thus, the following

     On Sunday, December 07, 2003, I attended the Mozart and The Height of Classicism concert that was held in the Lincoln Theater of the New World Symphony orchestral academy. Conducted by Nicholas McGegan featuring pianist Robert Levin. There were two pieces of music during this concert, one of the movements was performed by the pianist alone as a solo, Mr. Robert Levin. The program’s title was Wolfgang Amadeus Mozart, Chaconne from Idomeneo. The first piece was Concerto No. 24 in C minor for Piano and Orchestra, K. 491, Allegro, Larghetto, and Allegretto. The second piece was Symphony No. 36 in C major, K.425, “Linz”, Adagio-Allegro spiritoso, Andante, Menuetto-Trio, and

However, the repertoire presented was drawn from different sources and an excerpt from J.S. Bach’s “The Art of the Fugue” was handled by incorporating lots of musical adventure. The music of Bach was revisited again at a later time with four of his famous “Goldberg Variations”.

Incredibly popular in his day, Paul Wranitzky today is all but forgotten, left overshadowed by his better-known contemporaries and friends Mozart, Haydn and Beethoven. Moravian by birth, Wranitzky moved to Vienna in 1776 and quickly established himself as a remarkable and versatile composer of operas, chamber music, and symphonies. He was also widely respected as a conductor. In 1800, he was selected by Beethoven conduct the premier performance of the composer’s first symphony. The Octet for Winds in F-major is composed in four movements, Allegro moderato in sonata-allegro form, a theme and variations, Minuet and Trio, and an exciting Allegro finale. Classical influences of form and structure permeate the work, as well as lessons learned from Wranitzky’s time studying with Franz Joseph Haydn. So similar were the composers’ styles, for many years this work was inaccurately attributed to Haydn as Divertimento, Hob.II:F7 and still appears in some publications under that same name.

In the packed recital hall, an orchestra performs their warmup rituals. The venue boasts of chandeliers, perfect lighting, cushioned seats and richly carpeted aisles leading to the stage on which stands a Steinway grand piano in front of the orchestra. The pianist and conductor mount the stage. The soloist bows while the audience claps. Silence descends on the room and the performer takes a seat at the piano. Strains of beautiful music emanate from the instruments and fill the room. The pianist’s fingers fly across the keys. Amazed, the audience listens in total silence. One of the greatest composers had left his mark on this audience. The piece was the Concerto No.1 in D minor by Johann Sebastian Bach. He was the greatest composer not just because of that piece but also considering music history, his personal story, his popularity during lifetime, the volume of his compositions, the make-up of his music, and familiarity today.

In the first section of body, it provides the compositional process of the four overtures with historical evidences through the chronological order of the dates and titles to show Beethoven’s self-dissatisfaction of overtures.

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.

This summer has been an interesting one, but thanks to our Cappelmeister, we will be leaving for home shortly. Prince Nikolaus brought to our attention recently that we would be remaining at Esterháza for two more months, but that will not come to be. Our time spent away from our families because of this career path is much too long already, and every musician in the palace was becoming anxious at the thought of staying longer than promised. To our luck, Haydn was sympathetic, we only needed to air our grievances to him and he had devised a plan. Just last night, we performed our last symphony at Esterháza for this year.

Inspiration, idealistic, caustic, unorthodox, assertive, ambiguous, Gustav Mahler has astonished the world with symphonies ranging in violence to tenderness throughout the 20th century. During an era of musical progression in fin-de-siécle, an anxious mood, Mahler, a conductor and composer, took an inherent stance in composition. Even though much of his musical works weren’t popular until 40 years after his death, the discovery of his ingenious talents were unparalleled to other composers of that time. His role in war and revolutionary music has led to advancements in orchestral repertoire in his career as an opera conductor across Vienna. A unique sound in his nine full symphonies of various forms of Romanticism made him a pioneer of compositional techniques that refined music and influenced Arnold Schoenberg, Benjamin Britten, Dmitry Shostakovich, and other artists that have contributed to revolutionary music.

A total three piece of music was performed and they are all very nice. The concert begins with the Apres by Franck Krawczyk and this piece is from the modern period, and this has also been the first performance to the public. The second work is called Cello Concerto in A minor,Op.129 by Schumann and this piece is from the romantic period. This piece has three movements and the movements are played without pause. The first movement is in A minor key and it is not too fast. The piece starts with solo cello and very light string accompaniment and the theme is present in the solo part. The second movement is F major and it is very short and slow. The soloist is accompanied by pizzicato. The transition to the last movement is pretty loud and it