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Beethovens piano sonatas analysis
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The concert I attended was performed by a solo concert performer named Anton Nel. The date of the performance was October 8th, 2017 at 4:00 PM. The concert lasted about an hour thirty minutes and was located at Rainey Hall in Jessen Auditorium. The performer Anton Nel was a middle aged man while the audience who came to see him perform was generally middle-aged to elderly. The performer Nel is a very well known pianist who has taken his talents to several areas across the globe including Europe and Africa. Also, he has received several awards, including the 1987 Naumburg International Piano Competition at Carnegie Hall. As a UT student, my ticket was free.
As stated earlier, the concert was performed at Rainey Hall. The approximate size of
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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 …show more content…
I think this was the case because Anton Nel described how the different pieces were played on the fortepiano. He always tried to connect each piece he played with the fortepiano. It was also a concert that highlighted the prowess of a great musician in Anton Nel. As a member of the audience, the performer successfully achieved the goal of the concert. By describing the fortepiano and the different pieces he played, Anton Nel provided the audience insight on what to listen for and value within the pieces that he played. The concert space emphasized the focus on the fortepiano, Anton Nel, and the audience. All the other elements were blurred out. All of the works performed by Anton Nel were piano pieces that were originally played on the fortepiano, promoting the goal of the concert. The interaction between Nel and the audience also emphasized the specific instrument and how the pieces are played on it. Overall, I would recommend this concert for an individual who enjoys pieces on the
The sole concert performer was Anton Nel. The date of the performance was October 8th, 2017 at 4:00 PM. The concert lasted about an hour thirty minutes. The concert was located at Rainey Hall in Jessen Auditorium. The performer Anton Nel was a middle aged man. The audience was generally middle-aged to elderly. Nel is a very well known pianist who has taken his talents to several areas across the globe including Europe and Africa. He has received several awards including the 1987 Naumburg International Piano Competition at Carnegie Hall. As a UT student, my ticket was free.
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.
...xcited to have this experience. Part of the drama of the concert at first is felt when the musicians come in and sit down and begin tuning up their instruments. I would not be able to comment on the performance of the orchestra. During the performance, I seen the audience were moving with the music, but I felt like that everyone seems knows more music than what I learned throughout this semester. After I went home and did some of the research on these music I finally understand why these people like to attend the orchestra concerto, it was because that every piece of music has a history behind it. The Los Angeles audience seemed to me to be people who know music and who will listen to something new in a respectful way. All the same, when the more familiar sounds of the last piece were heard, I could feel a little sense of relaxation and fun coming into the room.
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had been already playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation befor...
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
The first aspect of the music I recognized was the volume, or the dynamics. It ranged from forte during the climactic moments to mezzo piano during the calmer parts, but mostly remained in this range throughout the concert. There were also several instances of crescendo and decrescendo, which served to build up tension or slow the piece down, respectively.
Here, Beethoven takes melodic expression to a new level: The appoggiatura in bars, 14 and 16 create a harmonic tension over a diminished 7th chord that creates “the highly expressive progression used by nineteenth-...
Most people do not know Nerliz Maria Guadamuz, and see her as a sixty-five year old woman that they mistake her for an austere and serious old but in reality she is quite the opposite of her personality. In reality she is a very sincere buoyant short old woman with short hair, a chubby nose, a sweet loving smile, blushing cheeks that are red as an apple, who wears slacks and a matching shirt and blazer, and who looks at you with her copper brown eyes. She is known now mostly as “abuela” which is Spanish for “grandma”.
This piano piece is from the romantic era, demonstrating breathtakingly lyrical and expressive melody, chromatic harmony, and use of dissonance to convey emotion (Wright 232-233). The dark beauty, haunting quality, melodic structure, and lyrical nature reminded me of Frederic Chopin, the master of the nocturne (Wright 232, 270). After comparing it to several pieces by the composer, I determined that it was Nocturne in C Sharp Minor (Op 27 No 1)1.
...to one masterpiece. When listening to the piece, the music struck me as similar to story-telling. The Adagio opened the Fantasy with a dark, overcastting atmosphere. His use of key (C minor in this case) sets the mood unmistakably. The main theme is altered between both hands with variations. The progressive melodic embellishment serves as a useful model for the performer and they are compositional models for successive stages in the variation of a theme. The piece then moves on to a “march” like Allegro. This section includes a brief middle section in F Major which introduces the following Andantino. If the audience finds the peacefulness in the “Andantino movement” to be inconvincible, the finale unquestionably brings an even bigger surprise. It’s like a storm has just arrived after a quiet afternoon. The main theme reappears in the end in an even darker manner. From the drama, expressive language to the grand gesture, this particular Fantasy reminds me of Beethoven in various ways.
31 in D major, Paris, K. 297/ 300a by Mozart, which represents the Classical Period. Mozart composed this piece in 1778 and it was performed in Paris, France on June 18, 1778. In the first minute, I heard crescendos. To be exact, at (00:20), and (00:31) and (00:50). These change in crescendo and diminuendo make different unique melodies that make the instruments challenge one another as the crescendo and diminuendo occur. Moreover, it makes the listener surprised because he or she does not expect it right away. It also builds the excitement for the listener. From (8:00) to (13:39), it has an andante rhythm and from min (13:40), it has an allegro rhythm. Mozart continues to switch the rhythm because he does not want to make it drab like the music of the Baroque era, which did not vary its dynamics. He also made sure his composition was clear and uncomplicated and thus, the texture was
26 in E-flat major, Op. 81a is written in sonata form. The movement opens in a 2/4 time Adagio introduction, and begins with a descending E flat major scale consisting of three chords. The syllables “Le – be – wohl!” are written above this three-chord motif and the scale is harmonized to create a tone similar to that played by a pair of French horns. However, contrary to the use of horns in his other works which are used to confidently proclaim a new piece, the sound produced by the descending E flat major scale mimics the natural harmonic series played by French horns but resembles a feeling of distant calling. The soft and subtle tone of the three beginning notes strongly resemble a sense of uncertainty that can relate to the emotions experienced by Beethoven during the departure of a close friend like Rudolph. These three notes serve as an important motif in this movement, and the joining of the left hand accompaniment on the third beginning note introduces a new sentiment to the piece. Rather than progressing in the key of E flat major, the left hand enters in C minor and creates a sense of tragic struggle. Similar to his works such as the Fifth Symphony and the “Pathétique” Sonata, Beethoven uses C minor to represent grievous emotions. The low C used in the opening statement of this movement establishes a darkened atmosphere in which the rest of the piece
Ludwig Van Beethoven, a German music prodigy, composed a variety of music, from symphonies to sonatas that are still popular to this day. Beethoven is famously known for the “Piano Sonata No.14 in C# minor ‘quasi una fantasia’”, or as others may know this piece as “Moonlight Sonata”. I am going to focus on the first movement in this piece that lasts for approximately six minutes, and discuss my opinions and findings. This homophonic piece as a whole has a steady tempo in quadruple meter, with the bass accompanying the main melody. Upon first listening to “Moonlight Sonata”, I felt sadness and despair, and after researching about this composition my thoughts for this piece did not change.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience.
After listening to the piece (Channel 3 YouTube., October 6, 2008) I analysed the piece is divided in 5-6 sections that have a fairly narrow range but the overall range is very wide because most of the piano keys are put to use (Margaret, E., March 25, 2013). The tempo is slow with a lot of push and pull and a rubato is noticeable