Sonata Representativa For A Major

On Sunday, 14 October, Jeffrey Phelps, cello and Lee Jordan-Anders, piano, performed Ludwig van Beethoven’s Sonata in A Major, Opus 69 (1808) and Claude Debussy’s Sonata (1915)

The C Major Sonata, K. 309 was written on November 8, 1777 for the fifteen-year-old Rosa Connabich who was the daughter of the leader of the Elector Karl Theodor’s famous Mannheim orchestra, Christian Cannabich. It was composed for solo piano. The three movements include Allegro con spirito, Andante un poco Adagio , and Rondo: Allegretto grazioso. The opening theme of the first movement uses a symmetrical paragraph of fourteen bars with seven measures each. It is followed by a pair of 3-bar balancing phrases. The slow movement also adapted the well balanced phrase structure at its exposition. This particular style was never unusual to musicians during the period. It has been used by many others including Josef Antonin Stepan whose Sonata no. 57 in E flat embraced almost identical elements as in Mozart’s C Major Sonata. However, Mozart made his own mark distinctively in various moments. For instance, in the second movement, there was a frequent alternation between two dynamics, piano and forte.

The abundance of harmonies never loses the thread to his audience. Furthermore, the opening of the slow movement inspires the imagination and attention of its listeners. All these elements make this piece one of the most successful concertos in the musical history.

Firstly, I will discuss the methods used in order to analyse the Form and Structure of the piece. The emphasis in analysis was often given to the form and structure of the piece, especially during the nineteenth century as this allows performers to gain knowledge more directly regarding the overall style of the piece. The sonata is composed in Sonata form and is separated into three movements, firstly the Grave- Allegro di molto e con brio movement, followed by the Adagio Cantabile middle movement and finally the Rondo Allegro movement. There are different meanings to the word structure in music, the first is to do with locating the different movements or the different sections of the piece and the second is to look at how the piece has been put

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

I especially liked, Spring: Overture for Wind Orchestra, because of the rapid and dance-like scene. In addition, I was impressed with the orchestra’s ability to perform so favorably with the brilliant soprano soloist. My least favorite performance of the evening was Danceries. The beginning was enjoyable but it quickly shifted to excessive refrains and distorted structure of instruments. After hearing these independent pieces I was able to comprehend and respect the talent of the performers of Bob Jones University’s music division. Overall, the musicians performed an excellent concert and left a lasting impression on

The development starts very similarly to the exposition with the first violin part once again playing the sunrise theme with the only differences being the distribution of the motifs ‘x’ and ‘y’ (The opening sunrise theme of the exposition was in the order of motif ‘y-x-x’ then ‘x-x-y’ compared to the opening

For this assignment, I went to the Basically Beethoven Festival at the Dallas City Performance Hall. The recital was opened with a few pieces played by the rising stars Madera Wind Quintet. The main performance included Rachel McDonald on the viola, Joseph Kuipers on the cello, Grace Wollett on the violin, Scott Wollett on the oboe, and the great pianist Alex McDonald. They performed a compilation of famous composers’ masterpieces.

The concert I attended was called the Faculty and Student Recital, which took place in the Cisco Auditorium on April 11, 2017. The music that was on the program was mostly what is called “classical” music, as well as a Chinese Folk Song, an electronic composition, and variations on an Indian Tala. In the classical pieces, the instruments that were used were the violin, the piano, the cello, and the oboe. In the electronic composition, the computer was used to make music. In the Chinese Folk Song, the piccolo was used to imitate the unique timbre of a Chinese flute. In the Indian tala, drums from Ghana were used to imitate the rhythm and sound of Indian drums. The piano, the violin, the cello, and the piccolo all originate

First we hear beautiful traditional classical music, then the fragment is recorded and sent back to the hall and re-recorded, which generates an amplifying sound effect. This makes the orchestra sound like organs playing for a mass in a church. When the recordings are replayed and repeated, the music become percussive echoes, and looping echoes soon outstand the meaningful score, leaving resonant frequencies physically fill the space. When one fragment ends in frequencies, another fragment launches with clear notes. In this piece, the fading of meaning and reappearance of it reminds of me ocean waves. A wave rises high as a wall so that we can see water in an identifiable form, just like we can understand sound through scores; as the wave hits the shore, breaks and disappears, ripples and bubbles become evidences of the wave’s existence, just like we can tell that music once was there through the frequencies. When the music lost its meaning, the audience subjectivity also vanishes. Personal preference over music genre no longer exists, all we share is the same space and same frequencies translated through air and the material that reflected the

beginning of the piece almost sounded like music that would be played in a classic horror/haunted house movie - the part where the piano plays itself! My emotions were mixed up throughout the entire piece and I tried very hard to paint a picture in my mind to what the composer was actually expressing and what kind of story was he trying to tell. “Could it be a tragic love story?”, “Could it be a story about a miserable life, a horrible death and/or the transfiguration to the afterlife?”. These were the questions I was asking myself when I listened to this classical piece. Although I could not understand the complexity of it, I still enjoyed listening to it very much. The only thing I knew was that the nickname of this classical piece was called “The Moonlight Sonata” and that the piece written by the great Ludwig van

The performance that I attended was of the Ottawa Symphony Orchestra playing the Overture to The creatures of Prometheus, by Beethoven, the Concerto for Orchestra by Kodaly, and Harold in Italy, by Berlioz. The orchestra was conducted by David Currie, and I think that they played very well overall.

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

This sonata was composed around 1802, a point at which Beethoven experienced the crisis of encroaching deafness. From then on, the composer started to introduce innovative and bold ideas within classical framework in his musical composition to expand the expressiveness of his music. His novel approach was evident in his formal and harmonic arrangement in the first movement of Sonata Op.31 No.1.

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.