Concerto, one named by Ludwig van Beethoven and the other by a friend, are splendid examples of Beethoven’s musical acumen. These pieces are more formally known as Beethoven’s Symphony No. 6 and Piano Concerto No. 5. This concert report will cover both pieces and will contain my impressions of each piece. Symphony No. 6 “Pastorals” was performed by the Deutsche Complementariness Bremen, and was conducted by Poppa Jars during their Beethoven series. Plano Concerto No. “Emperor” was performed by Murray Pergola (Plano) accompanied by he Academy of SST Martin in the Fields, conducted by Inveigle Mariner. The dates of the performances are not known because this is a review of an E-concert recording. I will begin with the piece that was personally named by Ludwig Van Beethoven, “Pastorals” “Pastorals” Is a five movement symphony, the only one with five movements that Beethoven wrote. Each movement is individually titled although Beethoven noted that the names were merely suggestions and were not to be taken literally (Classicalmusiceducation. Mom). The music does however seem to match up beautifully with the titles. The first movement is titled; Awakening of Cheerful Feelings on Arriving in the Country, ‘Allegro ma non troop’ and begins with an opening drone. The piece has a very quick, but somehow leisurely pace that repeats Itself In a typical sonata form. Themes emerge, but do not seem to be In conflict as In other symphonies, there Is a lack of noticeable tension. Imagine a forest, with the sounds of nature in perfect harmony, the winds rustling through the trees and birds chirping and singing.
The movement concludes with a coda comprised of a powerful increase in volume and emphasis with a return to the opening theme as basses Join in. The second movement Is titled; Scene by the Brook, ‘Andante molt mossy and continues the calm and relaxed mood set In the first movement. This movement seems to be in variation form. A gentle melody develops and the music seems to quicken. A completely new tune is introduced by a bassoon that is repeated several times. The themes are passed from woodwinds to strings and back to the full orchestra several times.
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Woodwinds seem to represent bird calls throughout the movement further adding linkage to the title. The end is marked by a flute and clarinet In a virtual bird conversation. This appears to be a cadenza before the completion of the warm and rich movement. The third movement is titled; Merry Gathering of Counterfoil, ‘Allegro, This movement is a classic scherzo in triple meter. The opening theme is conducted by the entire orchestra. This movement is in great contrast to the first two, much faster and more powerful. The scherzo gives way to a trio that Is quite energetic.
The to repeat in a a compressed fashion. The movement ends with a strong cadence that ends sharply and shifts to the next movement. The fourth movement is known as; Thunderstorm ‘allegro. The bass is deep and deviant, the woodwinds pierce the air, and the entire orchestra create a powerful stormy atmosphere. The rise and falls of this piece are dramatic and enhanced by the strings piercing anxiety. The sounds seem to shake the environment, rhythm is hard to detect, everything is crashing and disjointed, much like a real storm.
Suddenly there is calm as if the storm has dissipated and the beautiful country side has reappeared. The fifth and final movement is called; Shepherds’ song, Glad and Grateful after the Storm ‘Allegretto. The main theme is introduced by clarinets, horns and violins. He main theme is repeated several times with variations as the woodwinds are Intermixed. The entire orchestra Joins in an extended transition as the opening materials are reintroduced. There is an extended coda and the main theme is varied.
There does not seem to be a climax in the ending, Just a final strong cadence and a magnificent sense of completion that is enlightening. The five movements of Beethoven’s Symphony No. 6 “Pastorals” draw listeners in Math a quick, but leisurely tempo and rich developed movements. The symphony seemingly flows and fits the titles beautifully. It is easy to paint a picture off noble underside, nature, and all the activities it entails. Beethoven’s Piano Concerto No. 5 “Emperor” is a three part traditional concerto, an Allegro, Adagio, and the Rondo.
This concerto was named Emperor because of the powerful themes and heroic note of the composition (wry. All-about-Beethoven. Com/ concerted. HTML). The opening of the concerto brings a main theme introduced by a solo piano with the full orchestra providing a dramatic presence of several chords. The piano flourishes grow in length until reaching a cadenza after the third time. The full orchestra Joins in and carries the theme into the full exposition. The theme is bold Ninth a pleasant interjection of a second subject that seems to tiptoe through the movement.
The orchestra stays in the tonic key as the piano modulates and reaches wide variety of tones as the scales are worked. The development of the movement effectively flips the lead. The orchestra now leads and the piano accompanies. The main theme rhythm is reinforced by a powerful bassoon. The coda is lead by horns and Joined by the rest of the orchestra to a thrilling close. The second movement is a slow movement and begins quietly with a simple main theme presented by strings. I felt like I was in church. The melody of the movement makes it seem simple but it still has many variations within.
The original theme is maintained within the development in a very refined and deliberate way. This away as if were weeping. The piano is seems to fade away as a low woodwind plays long notes and sustains the theme. A very low tone on the piano and woods is held for long periods and then the piano dashes out vibrantly and the orchestra Joins in a spirited conclusion of the movement. The third movement is a classic rondo that seems to begin without a distinct break from the second. The piano again traverses the scales dramatically and is accompanied by the orchestra.
The drums fade as the piano solo fades out. With the pause, the piano Jumps aggressively back into the chromatic scales which are a foundation of the themes throughout the concerto. The orchestra is along for the ride too rapid and powerful finish. The “Pastorals” symphony and Piano Concerto “Emperor” present dynamic representations of nineteenth century music which represented more direct and unrestrained emotions (Strayed 209). Both pieces are energetic and lead the listener through a winding path of emotion.