Symphony No. 8 In B Minor, D. 759

The fourth movement is titled “thunderstorm” and is a romantic movement. It is in episodic form (a format of the romantic period). It is extremely programmatic. The movement depicts a thunderstorm through the use of the timpani that creates the rumble of the thunder and the punctuated sforzando chords that create a harsh lightning (for example in bar 21). These programmatic features are romantic traits and show Beethoven’s ability to push the boundaries of the style he was contained to. The use of percussion and brass in a dominant role is also a romantic feature. There are multiple dramatic dynamic changes throughout the movement ranging from pianissimo to fortissimo, which is unusual for the classical period. The movement also exercises dissonance and the melody is unresolved, a

The Symphony No. 5 in C minor by Ludwig van Beethoven was written roughly between the years 1804 to 1808. This is most likely the best-known work in the classical music genre. Additionally it was written during the Classical period. It was initially performed in Vienna’s Theater an der Wien in 1808. The first movement: Allegro con brio, kicks it off with the famous four-note motif and once it begins it instantly creates the feeling of suspense and it immediately grabs my attention. Throughout this movement he uses high and lows and it reminds me of rollercoasters. In the second movement: Andante con moto, is in A flat major, and contains two themes that are presented and varied in alternation. The first theme is more pleasant and lyrical, however

8 in C minor, Op. 13 composed in 1798 focussing on musical features such as melody, thematic content, rhythm, form and structure and harmony. This sonata has been chosen for analysis as it is the most popular Beethoven sonata within the performance circuit, as it is a well known piece worldwide. Secondly, Beethoven developed Sonata form, adding more thematic contrast and contrasting melodies reflecting his own personal struggles with his progressive loss of hearing and also his failures in his love life which all contributed to the passion and despair that is depicted within the sonatas during his second compositional stage in his career.

Symphony No 5 (Beethoven) http://www.ask.com/wiki/Beethoven 's_Fifth_Symphony From Wikipedia ( View original Wikipedia Article ) Last modified on 13 January 2011 at 03:35 Dari Wikipedia ( Lihat yang asli Wikipedia Pasal ) Terakhir diubah pada 13 Januari 2011 03:35

Beethoven's Ninth Symphony I attended Beethoven’s Ninth Symphony on October 14, at the Bass Performance Hall in Fort Worth. The Fort Worth Symphony Orchestra, conducted by Miguel Harth-Bedoya and Southwestern Seminary Oratorio Chorus, directed by C. David Keith, performed it. Ludwig Van Beethoven composed the work. He composed it between 1811-1824. Beethoven composed the work in D minor, Op. 125 (“Choral”). His Ninth Symphony was his last symphony to compose. It was preceded by eight other symphonies. I was attracted to this work because it was the first symphony to include a choral. I found it astonishing that Beethoven was completely deaf when he finished this work.

The fourth piece had not only used instruments, but it also used a magnificent chorale. The fourth piece seemed to have four separate movements in itself as the fourth movement first starts in a low tone and tempo. Then suddenly the music changes into an adante tempo, and then at last the music becomes allegro, as well as fortissimo as the music is not only loud, but its tempo is rapid. Also at the end of the fourth movement when the choir is singing, and the musicians are performing as well, the music becomes extremely rapid and fast compared to the rest of the

In June 1906, 46-year-old Gustav Mahler was struck with inspiration unlike any he had ever had in his life. With this inspiration, he composed his Eighth Symphony in less than two months. Dedicated to “My dear wife, Alma Maria” and known as Mahler’s “search for redemption”, this symphony was the first of Mahler’s works to be an overwhelming success.

The final complete symphony by Beethoven was Symphony No. 9, also referred to as “The Choral”. Not only is it considered one of his greatest works, it was one of the best known in the classical period, as well as the greatest compositions in western music. He was the first major composer to used voices in a symphony with a chorus. In 1817 the symphony was commissioned to The Philharmonic Society and was completed in 1824. Beethoven used a theme which is first played instrumentally is then reproduced vocally. This symphony premiered with the biggest orchestra ever assembled at this time. The main vocalists consisted of a contralto, a soprano and an alto with parts specifically written for their ranges. As well, he had a tenor, baritone

through the eyes of a composer I often associate with Elliott: Ives. Much as the third movement of Ives’ Fourth Symphony is an “apotheosis of simplicity”--a hymn-like

Octet for Winds in F-major (1802) Paul Wranitzky (1756 – 1808) 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.

As for music in the Romantic Period, I enjoyed Symphony No. in E Minor by Antonin Dvorak. This piece is so exhilarating and unique for its time. The colorful orchestration and melodious material add a distinct flavor to this this piece. When I listen to this piece it just gets me excited and ready for the day. It’s just incredible how something created so long ago can still be relevant in today’s society. This course have opened up a new world of music to me, I never knew that such unique sounds existed so long

In the ‘Eroica’ (No.3, 1803–4) Beethoven created an opening movement as long as an entire Haydn symphony. He also made the symphony not only more imposing but more directly personal. Where Haydn 's symphonies share feelings, intimations and jokes with their audience, Beethoven 's state, give and address. And where Mozart wrote a symphony when he had to give a concert, Beethoven put on a concert when he had a symphony to impart. Beethoven was surely also the first composer to view his symphonies as a cycle, a set making up a larger composition. Yet each work was different: the elusive Fourth (1806), the intensely dramatic Fifth (1804–8), with its insistent opening image and its drive from the scherzo right through into the finale, the pictorial ‘Pastoral’ (1807–8), the spa- cious Seventh (1811–12), the compact and humorous Eighth (1812), and then the Ninth (1817–23), unprecedented in drawing the voices of pan-human celebration into the substance of the symphony.

In June and July 1828, he enthusiastically composed mass in E flat. Although, it is still not clear when he completed this work, it exposes his definitive maturity as composer. In this period, Schubert changed his concept of mass as profound personal genre instead of liturgical work, so that he attempted to use his overall compositional skills and musical ideas. In this concepts, mass in E flat includes the forms of instrumental music. In 1828, Schubert delved into counterpoint and used it for his mass in E flat. After the symmetrical five sections of Gloria, Schubert sets the fugue to conclude this movement. It starts from “Cum sancto spiritu” [mm. 260], and “Amen” section culminates. This fugue theme of Gloria evokes the theme of Johann Sebastian Bach’s Keyboard music. In addition, composer used the fugue again for “Osanna in excelsis Deo” and entire Benedictus movement composed with rondo form. This movement begins with stings four measures phrase, and after strings’ playing theme, four soloists, winds instruments and choir join. Fugue and rondo form are the representative forms of instrumental music. Likewise, Schubert combines the musical idea of instrumental music to mass, and his consideration of genre and approach of mass led him to consider to change the role of orchestra as individual

Performance Analysis: Fantasy in C Major, Op. 15 (D. 760) (“Wanderer” Fantasy) Schubert composed the Fantasy in C Major (“Wanderer” Fantasy) in 1822. This fantasy became a milestone in music history because it was the first time when a composer “integrated a four-movement sonata into a single movement.” Schubert did so by matching the sequence of a traditional four-movement sonata (Allegro, Adagio, Scherzo, Finale) to one big sonata form (exposition, development, recapitulation, coda). This exploration opened a new era of composing romantic music because it created an expanded form with more freedom in theme. Composers in this way were granted more freedom to compose based on their personal imagination and to compose with more virtuosity.

Viennese composer Franz Schubert is often regarded as a master composer of songs. He is also known for creative and unexpected movement between keys in his compositions. Dying at a tragically young age, Schubert managed to release an enormous body of works, publishing over two-hundred songs while alive. Despite this already impressive output of songs, nothing stopped Schubert from composing symphonies, chamber music, and solo works as well. Close analysis of his music reveals how skillfully Schubert was able to set text, move fluidly to foreign keys, and much more. In this paper, Schubert 's vocal piece entitled Erlkönig and his work for solo piano, Moments Musicaux 5 in F minor, will be explored more deeply