Sonata in D (2016)
This piece was originally composed by the talented Italian composer, Nino Rota around the 20th century. Rota was a well-renowned music composer and an enthusiast of the viola. He dedicated most of his compositions to his fellow music composers. Notably, Rota composed the second Sonata to Piero Farulli. This particular piece contained three different movements under C major: Allegretto scorrevole, Andante quasi Adagio, and Allegro scorrevole. In the “A Little Bit of this, a Little Bit of that” concert, Julia Heinen and Francoise Regnet tried to bring out the calming effect of the different pieces. For instance, the Allegretto scorrevole had a tempo that varied in nature. It started out fast but slowed down during the performance
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While writing this composition, Dana Wilson included three different movements: “To Smash the Night”, “To Break This Shadow”, and “Into a Thousand Lights of Sun.” To Smash the Night had a varied tempo. In some instances, the song slowed before becoming faster again. It is also noteworthy that the three percussion pieces complemented each other in tone variation and rhythm. In another section of the song, the piano seemed to wait for the clarinet and the violin while in another, the clarinet and violin followed the piano’s lead. In the end, the musical dynamics changed to a crescendo, creating a colorful texture of music that brought out a joyful feeling in the listener. To Break This Shadow is a slow-paced piece of music that was full of sadness. However, it also varied in tempo while still calming the mind of the listener with relative ease. Also, the piano took precedence in this piece with a pattern that was varied from the clarinet. Finally, Into a Thousand Lights of Sun was fast, with a lot of coordinated tonal variations that created a gradual change in texture. All of these pieces are dynamic in their own way. Their varying crescendos and subtleties are what make each of them different from one another. In the end, they all elicited feelings of happiness within the audience by employing a lot of soothing
Dohnányi was a major Hungarian composer, pianist and conductor of the turn of the 20th century, second only to Bartok in influence in his home country. His compositional output was late Romantic in style and very conservative, largely influenced by Brahms.
The String Quartet in C Minor, Mvmt IV by Ludwig van Beethoven was composed from 1798-1800. It consists of four movements: Allegro ma non tanto – fast lively tempo, Andante scherzoso quasi allegretto - moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto, Menuetto - A graceful, courtly French dance of the Baroque and Classical period with a triple meter and a moderate tempo. It was introduced at the court of Louis XIV. In classical forms such as the symphony or chamber music, the minuet evolved into the more vigorous scherzo. : Allegretto - moderately quick tempo, and slower than allegro but faster than andante (Christiansen, 2005). The instruments that Beethoven uses in the song is two violins: 1st violin and 2d violin, a viola, and a cello (typical string quartet). He also uses the rondo form within this song. The rondo form features a tuneful main theme (A) which returns several times with other themes. This form is really easy to remember because this piece is repeated throughout the song, people can usually recognize its return. Also, because of it...
Before actually going into the analysis of the actual piece itself, background information would be helpful. The composition was written by Bach, and it is part of the sonatas and partitas for solo violin. For this example, Partita II in d minor, movement I, Allemanda, will be discussed. Allemanda, sometimes spelled allemande, derives from German and simply means “dance.” While there are various tempos used, this movement is usually fast, around 120 beats per minute.
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
14 in C-sharp minor, Op. 27, No. 2 by Ludwig van Beethoven. This piece sets a down mood that isn’t as bright as the other pieces Nel played due to its minor key. However, the sound of this piece is really intense and emotional. This piece has a very smooth melody and demonstrates syncopation. Also, the dynamics of this piece are low. As discussed throughout class, this piece has sonata-allegro form. This means that it has an exposition, development, and recapitulation. The first movement is slow since it is adagio sostenuto, the second movement is brisk since it is allegretto, and the third is quick since it is presto agitato. Beethoven uses a continuous soft dynamic and a smooth wave-like rhythmic pattern. The texture of this piece can be described as mixed between homophonic and polyphonic. Lastly, this piece required Nel to constantly use the fortepiano levers to create the piece’s distinct
A joyous celebration of the sanctity of life is generated through the element of Mood and atmosphere. The clip begins with a soft orchestration of piano and violin, creating a magical melody. The choice of melody creates the mood and atmosphere that influences the audience to feel joyous from the outset. The use of lighting adds dramatic effect to the mood and atmosphere of this scene; a warm yellow beam of light streams out of the barn, cutting through the dark and rainy morning, which
The song has an intriguing melody that makes me think of London in Europe, maybe it is just because I watched a movie that takes the setting of London or maybe it was the beat of the percussion and the brass, maybe more other instruments, but it created a nice light and deep feeling within the sound. The opening of the song was greatly influential releasing a great amount of energy to the audience. In the middle of the song, it was going down, but then the energy returned and renewed, propelling the overture to the finish. At the same time, it creates an opening for some kind of curtains onstage to drop down dramatically. Having the string and woodwind to act as the cushion of the song being dark and downhill while the brass and the percussion act as a representation of the beating heart of all living things. In the beginning of the song, it was in allegro but throughout the song, it goes downward with the beat being downbeat but once it hit adagio the song become more upbeat and the tempo become vivace. With the brass, woodwind playing vivace and the percussion breaking up the parts each second. Until near the ending, all instruments hit their big parts that would come as a dramatic timing. This song was a classic and I believe it was in many comedy animations back in the good old
Next music piece was called Dance Preludes, which was created in 1954 by a Polish composer name Witold Lutoslawski. This piece had five movements, which was going to be played by clarinet player Garry Evans and piano player Natalya Pitts. The first movement was in allegro molto. The music was quick, direct, and had a lively tempo. The second one was in andantino which was slightly in walking tempo. It was a bit fast with crescendos and bit slow with decrescendos on some part. In the middle of the music is where it got faster but then slowed down in walking tempo. Third music is in Allegro giocoso which way different from the others. While it was fast and much more lively and it was also really jagged. The fourth movement was in andante which
Antonio Vivaldi is a famous Italian baroque composer, known by most Suzuki violin students who study his concertos or by audiences everywhere who have heard and love his composition of the Four Seasons. Having grown up as students of the Suzuki Violin Method, we recognize this composer and have experience performing his pieces. In addition to his many concertos written for solo violin, Vivaldi composed many concertos intended to be performed by two solo violins, accompanied by a small orchestra. Because we are both violinists, we chose to analyze the second movement of Vivaldi’s Concerto for Two Violins in A minor, RV 522, included in his L’Estro Armonico works.
In the music video, the Soundgarden band conveys the given aspect through the transitional shift of scenes from a bright to a dark ambiance, especially when in the farm fields. Furthermore, the visual rendition of “Black Hole Sun” employs words such as snake, stench, cold, damp, hell, scream, hand, disgrace, drown, and stuttering (Soundgarden – Black Hole Sun). When assessing the utilization of the above terms, nearly all these words are used to represent pain, bitterness, extremity, and anger. Moreover, when analyzing the terminologies from an artist’s perspective, it is probable that the composers and performers behind the music video employed the dictation to depict the hollow, rotten, and empty dark feeling that hovered around the broken, discouraged, and ashamed characters such as
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
The piece opens with an allegro, minor melody with cymbal crashes and timpani rolls. There is a short pause then a major trill. Harp glissandos then accompany a legato oboe melody, which is repeated with a pizzicato string bass. The melody is then repeated by the whole orchestra. There is a crescendo with the tim...
Ludwig van Beethoven, an innovative German virtuoso pianist, was born on December 17th, 1770 in Bonn, Germany and passed away in Vienna, Austria on March 26th, 1827 at 56 years-old. Among Beethoven’s 9 symphonies, his Fifth in C minor is one of the most significant pieces in Classical music history and demonstrates an outstanding piece of musical work that has been performed for several years as one of Beethoven’s most famous symphonies. Symphony No. 5 was composed between 1804 and 1807 during the same time as Beethoven’s Symphony No. 3 in E flat major (better known as the “heroic” symphony) and was first performed on December 22nd, 1808. His first performance occurred seven years after Beethoven’s hearing deficiency was found in June 1801. Symphony No. 5 remains highly significant in the history of classical music because this piece played an essential role during the transition between the Classical and Romantic periods of music during the Enlightenment period, resulting in a major influence on society.
Grinberg played Partita No.4 in D Major (1728) by renowned composer J.S Bach. Bach was a prolific composer, composing over 1,000 compositions for the keyboard, and is revered for his work 's musical complexities and stylistic innovations. The partita that was played was one of his six partitas, which are stylized dance suites. Like Scarlatti’s sonatas, Bach’s partitas were originally composed for keyboard practice; they were not intended to be performed. Also similar to Scarlatti’s sonatas, Bach’s partita was cast in the popular baroque binary form. The Partita was spontaneous in structure; each movement began with a different structure. The partita opened with a French overture. The first movement had a slow, dotted rhythm, while the second movement exhibited a livelier rhythm with imitative polyphony, a texture that was favored in Baroque compositions. Next there were two dance suites, an Allemande moderately paced in quadruple meter, followed by a Courante, which is paced in triple meter for a livelier beat. Like Scarlatti, Bach’s musical works were also creative and inventive, making them somewhat ahead of their time. After the two dance suites, Bach added an unusual additional movement titles “Air” which took the form of an area. The remaining three dance suites were a Spanish Sarabande, the same dance suite that Handel used in his Chaconne in G major. The Sarabande uses a chromatic scale with dissonant harmonies, which we hear a lot of in the Baroque era. Next came a French minuet, cast in triple meter. Later on in the Classical period, every symphony and string quartet would include a minuet as the moderate third movement. The fourth and final movement of the Partita was an exhilarating gigue in which Bach creatively inverted the subject. Although this was a particularly long piece, Bach’s rhythmic vitality and creativity made this work very festive and enjoyable to listen
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.