Wolfgang Amadeus Mozart Composer Information: Lived from 1756-1791 C. E. German nationality Genre: Symphony Performing Forces: Solo piano with orchestra (pairs of woodwinds, horns, and strings) Timbre: Form: First-movement concerto form, with orchestral and solo expositions, then development, recapitulation, and coda Comments: was impressed by the various piano sections, which display incredible moments of piano virtuosity.
This particular concerto contains three movements (allegro, andante, ND allegretto). The first movement, marked allegro, contains an orchestral retooling. A solo exposition, a development, and a recapitulation. I noticed that when the second theme is presented, we only get the string section playing the melody line. The second time it is played, however, the woodwinds with added violin ornamental figures present the theme. This provides a nice balancing contrast from the first theme where the woodwinds provide the ornamental figures over the melodic line played by the violins.
The solo exposition is similar to the original theme in that it also has woodwind accompaniment. It is different, however, in that it contains many virtuosic pianist’s decorations. I noticed that the transitional theme In the solo exposition was not quite as forceful as the one presented In the orchestral retooling. Theme 2 is repeated in the strings with piano accompaniment. The solo exposition is ended through a series of descending and ascending piano representations through major, minor, and deedless types of harmony.
The development begins quietly and Is distinctive In that It starts with large sweeping types of motion. These repatriated “sweeps” undergo various modulations. The recapitulation begins with he first theme in the violins with woodwind accompaniment just as was heard in the beginning of the piece. During this cadenza, I heard hints at various previously heard themes. I also noticed a dramatic shift In harmony. Tome this comes very abruptly. I believe the harmony is going back and forth. Mozart Piano Concerto in G major is filled with many contrasting melodic and harmonic ideas.
Definitely in the Classical era because: As the taste for structural clarity began to affect music, musicians moved away from the layered polyphony of the Baroque period toward a style known as homophony. The texture in this piece is mostly homophobic. The Classical era favored clearer divisions between parts and brighter contrasts and colors, which can be heard in this piece. Melodies tended to be shorter than those of Baroque music, with clear-cut phrases and clearly marked cadences, which this piece clearly shows. OFF Genre: Opera buffo Performing Forces: Short orchestral introduction, then alternates between soprano aria, orchestra, and interjections from Don Giovanni and Leprosy Form: Two main sections (allegro, Dante), each repeated with variation (A-B-A’-B’) Comments: In the “Catalog Aria,” Leprosy establishes himself as the long-suffering comic revert. In the aria he shows Donna Eluvia his catalog of the Don’s conquests: all 2,065 of them. This aria requires high-speed patter singing and excellent comic timing. Elsewhere in the opera Leprosy offers many comic asides to audience.
His v’ice type is a lyrical bass voice that has a wide range and agility for coloratura or comical writing, also know as buffo bass. In the allegro, Leprosy shows Eluvia his catalogue, and lists the count of his master’s female conquests in the different countries of Europe, emphasizing their range in social terms as well as geographical ones. In the Dante con motto, Leprosy now gets particular and personal, specifying the different types, ages, and experience levels of the different women, and Don Giovanni approach to each.
What is so wonderful about the beginning of the allegro IS that the orchestra manages to be so highly energize with its pulsing rhythm and rocket themes in treble and bass, and yet the voice, at least at first, can be quite middle-range and even scurrilous. Definitely in the Classical era because: There is a great range of flexibility in music from the Classical Period. The change room a pattern of note lengths to a different pattern of note lengths shows this. Music during the Classical Period had contrasts of mood. This piece had a wide range of emotion being portrayed.
The melody of a Classical Piece is often balanced and symmetrical because they are frequently made up of two different phrases of the same length. The second phrase may be similar to the first phrase but will often end more decisively and it will be easier to sing. This piece demonstrates this. Nettle: symphony NO. 5 C minor, pop. 67 -? 1807-1808 C. E. Composer: Ludwig van Beethoven Lived from 1770-1827 C. E. Performing Forces: Piano with orchestra Form: Concise sonata-allegro form; with extended coda; repetition, sequence, and lariat techniques Comments: Nettle: Leaflet -? 1815 C.
E. Composer: Franz Schubert Lived from 1797-1828 C. E. Genre: Lied Performing Forces: Solo voice and piano Form: Through-composed Comments: Definitely in the Romantic era because: Title: Mazurka in a-flat minor, Pop. 24, No. 4-? 1833 C. E. Composer: FRRdrich Francis Chopin C. E. ) Lived from 1810-1849 C. E. Nationality Genre: Mazurka for solo piano Performing Forces: Solo piano Form: A-B-A-C-D-A, with some sections repeated; long coda Title: September: At the River, from The Year (Dads Ajar) -? 1841 C. E.
Composer: Fanny Mendelssohn Hansel (1805-1847 C. E. ) Genre: Character piece from a programmatic cycle of 12 Performing Forces: Form: Ternary (A-B-A’) with short introduction and coda Title: Symphonies fantastical, IV -? 1830 C. E. Composer: Hector Burlier (1803-1869 C. E. ) Genre: Program symphony with 5 movements Performing Forces: Full orchestra (percussion, horns, etc. ) Form: Sonata-like, with 2 themes introduced, developed, then recapped Comments: earlier begins to reveal the truly sinister side of his imagination.
There is a strikingly unexpected reference to the beginning of the ide fixed at the climax of the march: the artist, led to execution for murdering his beloved, remembers her on the scaffold, but the melody is abruptly cut off by the fall of the guillotine and the concluding uproar rhea movement is in Allegretto non troop. Or help with the program music aspect of the piece, this movement is a march, representing Burlier being marched to his death, The piece starts off at a relatively slow pace, but gradually gathers momentum until it is quite fast and lively.