Robert Schumann, ?Grillen? from Fantasiestucke, Opus 12

It comprises recurring pulses and accents that create identifiable patterns. Also, without rhythm there is only the rise and falling of tones (119). The song is the same measure repeated over and over in slightly different ways. There are two characteristics that tend to change throughout this song, tempo and the dynamics. Tempo is the rate of speed of the composition (120). The song begins in the tempo Lento, slow, and begins picking up speed and rising to andante, moderate, tempo. Dynamics is the degrees of loudness and softness in the music (177). In this particular song the tempo and dynamics build off each other. When one changes the other changes with it, creating layers to the sound you hear and making each note pleasing to the

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

The introduction of the song causes the listeners to feel sympathy and sadness through Mercury’s ashamed and melancholy tone.

The dynamic increases to fortissimo at mm. 73 as the texture thins and harmony becomes very clear for a brief section. In this second closing theme G major, G augmented, and E minor7 in the bass are strongly arpeggiated before four octaves of C, D and G quickly reaffirm the key of G. This cadential crash is followed by some of the softest and lightest material of the whole movement, which due to the surrounding measures is proved to still be part of the second closing theme.

The beginning of the piece, mm1-14, has longer rhythms in which notes mainly fluctuate between half note or whole note values. The only occurrence of textual and rhythmic alignment is in mm 4-5 between the bass and alto in the word “despatch”. So not only do these long notes emphasize the melancholic mood of the text, but so does the

Beethoven draws the listener in by providing multiple repetitions of the short fast-slow-fast waves. As I listened, I took notes about things I felt while hearing this. I felt like each time the symphony almost mellowed out with the violins, the listener was relaxed, but then the “fast” part came which included more instruments, and I felt awakened. When all the instruments came to a perfect harmony, it was soothing and satisfying to hear. I could also instantly see the emotions painted on conductor Claudio Abbado’s face as the wave increased in volume before mellowing out

I also enjoyed listening to this piece Fantasiestucke, Opus 88. This piece was played in Romanze and duet, and was performed by the pianist Luiza Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. After a deep sesearch about this piece I find out that the work was came at a happy time in the composer's life: Schumann had married his beloved Clara Wieck in 1840 after her father had made many attempts to thwart their matrimonial plans. The four pieces, or movements, comprising the trio are "Romanze," "Humoreske," "Duett," and Finale. During this program I feel that the "Romanze" opens in a tentative, mysterious mood, but then turns warmly Romantic, the piano dominating throughout. The "Duett" that follows, marked Slowly and with feeling, is for cello and violin, the piano providing a soft, running accompaniment to their passionate singing. The Finale, designated in March tempo, exhibits a heroic character at the outset, but turns lighter and more playful in succeeding variations. The main theme returns and the subdued, lively ending are sheer magic in its feathery nonchalance, its graceful instrumental exchanges,

Romantic 
Dates: 1800-1900
 
1.  What was going on historically during this era?  What was life like? Profound Political and Social changes going on; many moving into cities for work. Renewed interested in expressing emotion through music. 
2.  Does romantic music continue to use the same forms used in the classical era? No
3.  Explain the Individuality of style. Composers wanted their music to be uniquely identifiable to them. They worked hard on self-expression.
4.  What are the expressive aims and subjects of the pieces?  How is this different than in the classical era? Flamboyance, Intimacy, Unpredictability, Melancholy, Rapture, Longing etc..., Classical Era did not experiment with so many aims.
5.  What is musical nationalism?

These distinction sections were noticeable because of changes in energy levels and changes in the tempo of the music. To me this also represents the different periods we may go through in life. Our emotions, circumstances, and relationships are constantly changing as we go throughout our lives. Change is unfortunately inevitable. The theatrical elements such as the music, lighting, and costumes helped add to the serious aesthetic. One recurring them I noticed was how the dancers held hands at various points within the dance, and this represents unity and necessity of having a support system.

A great contrast was found in the second movement, a hymn-like happy mediation of andante. Three phrases of the tune which was given to clarinets and bassoons, has its cadence echoed by low strings. Passages developed from the first theme then led gradually to its return in its original calm mood after a brief climax. A brief coda was made by a new and happy melody referring to the main theme.

The tempo throughout the song varies from adagio to allegro, but favors the allegro speed in most of the piece. As most of us have agreed, this specific movement is very repetitive in texture and tone. We believe repetition is a main them in the song to help the listener get a feel for the piece and help them memorize it better. As the melody progresses, the tone and volume of the piece make a drastic change. It slows down as to show the time of year is slowing. No longer are children running and playing outside, it portrays winter being right around the corner. The tone continues to fall lower, giving the listener a feel of sorrow, as if death is in the air. The visualization of leaves falling is imprinted in the listeners mind. Then suddenly, the tempo rapidly picks up and jumps right back into the main chorus, which is abruptly cut short. The tune firmly begins to build up as it almost lullabies the listener through the composition, while the volume steadily increases. I can picture myself swaying in the wind to the cool fall breeze as the sun sets on the warm colors of the fall leaves. Just as the lullaby seems to pick up in pace, it slowly fades in to the distance. Once again the volume of the piece quickly increases and has the listener on the edge of their seat as joy fills the air. The pitch jumps from low to high between each instrument as they begin to

A Look into Different Interpretations of the First Movement of Moonlight Sonata: The Piece that Portrays an Assortment of Emotions

Employing remote keys and tonicisation seem not sufficient for the composer to display his ability to expand the expressiveness of his music. Thus, Beethoven employed the technique modal mixture through out the second theme in both exposition and recapitulation. For instance, the second theme in the exposition starts with B major harmony (mm.65-69) (Fig. C). With a descending scale, the second theme swiftly changes to b minor (mm.72-79) (Fig. J). It creates abrupt change in the mood from a sweet dance-like major passage to a stormy minor one. From measure 72, b minor persists throughout the second theme except

The listener would perceive the slow-moving idea (mm. 23 – 29) which follows as the second theme, if it were not for its fleeting mysteriousness. It provides a contrast to the majestic themes which opened the movement. The harmonic ambiguities, created by the chromaticism, are very progressive for the Romantic era.

In the course of the development of music, many great composers have contributed their brilliance towards the revolution of music. To be a great composer does not necessarily mean that they have reached a vast amount of fame. However, it means that their compositions have ingenuity and value. The melodies they have cleverly created have reached a point of worthiness in the world of music. For it is the sweet harmonies a composer creates that defines who he is. One of these gifted composers was Frederic Chopin, born on February 22, 1810 in Zelazowa Wola, Poland. Young Chopin was already composing by the age of eight and as his musical career developed he became known as a master of piano composition. Although he was often misunderstood