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Classical music analysis
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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 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...
This movement was also in complete sonata form, like the first, but started out with a fugue, containing timpani solos and then later concluded with an abrupt
The first movement is allegro (Schwartz, 2015). Began to explode in the timpani, introduced the main elements relating to the material. The tone color of began part is deep. After introduction, is a piano solo part, describes the whole movement found another melody. From here, contrasting grand and exquisite part of the music alternates. It will reach the climax Grandioso, where the band sounded original piano melody, accompanied by large triplet figure in the soloist. There is a fast triple ostinatos a cadenza which leads to the last one: speeding octaves and chords, eventually forming a triple F major chord ostinato 6 keyboard along a big run, so that the movement draws to a close.
To start, the first movement of the piece is in sonata-allegro form. It opens kind of abruptly, and starts with a three-note motive. The piece seems to be rapidly picking up and getting louder as it goes on. As the movement continues more towards the end, it starts to slow down and becomes more calming. We can hear the original three note motive come back again at the end.
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
Ludwig Van Beethoven 9th Symphony Symphony number nine in D minor, Op.125, the "Choral" is the outstanding piece accompanied with a vocal chorus. Beethoven began concentrated work on the piece in 1822. It occupied him throughout 1823, and he completed it in February 1824. The first performance took place at the Karntnertor Theater in Vienna on May 7, 1824. The deaf composer stood on stage beating time and turning the pages of his score, but the real conducting was done by Michael Umlauf.
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
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...
During the Romantic Period, so much beautiful music was created. One famous composer of the Romantic Period is Antonin Leopold Dvorak. He composed several symphonies, concerti, operas, choral works, and some chamber music. One of his most well known symphonies is his final Symphony No. 9, “From the New World.” Finished in 1893, this symphony is a great example of the fantastic music from the Romantic Period.
Beethoven, whose musical scores are still challenging musicians after several centuries, had significant hearing loss beginning at the age of 26. Yet as his condition worsened, he continued creating masterpieces that are enjoyed to this day. No one can argue Beethoven’s influence on the world.
Beethoven's Symphony No. 6 is the forerunner of the romantic symphony. It is programmatic, telling a story. It is based on nature, a common theme in the romantic era. While a typical romantic symphony still had four movements, Beethoven stretched this by adding a fifth movement.
Introduction The symphonies of Anton Bruckner have been known to be majestically spiritual having ‘cathedrals in sound’. Giving a brief background of the musician and composer, Anton Bruckner was born in Ansfelden. Anton’s father was a school master who did not want that his son be a musician. However, against his father’s will, Anton studied music at St. Florian monastery and became an organ player in the year 1851. Anton was much impressed by the music of Richard Wagner and extensively studied his music and after completing his studies he wrote "Mass in D Minor". At Vienna Conservatory, he was appointed as a music teacher in 1868 and from then on he was all the more the symphonies’ musician. Nevertheless, the symphonies he created did not receive a positive response and were thought about at being "wild" and "nonsensical" (Adante). His music was dominated by Eduard Hanslick. While Anton’s symphonies were most popular, he also wrote Masses, Motets and Chorals, while his symphonies were the most romantic his chorals were both conventional and contrapuntal in technique. About His Symphonies Symphony No. 1: Anton’s first symphony was composed and completed in 1866. In 1868, Anton performed this symphony in Linz, and afterwards left from Vienna where he spent his remaining life. Critics were not favorable towards his first symphony as the audience considered it as rough and too unconventional. Accepting this criticism, Anton revised his first symphony a year after its creation and called the new version of his first symphony as the Linz Version. Ever since, the Linz Version is the most famous and the most performed symphony of Anton. And it is the version mostly performed now. Dr. Carragan prepared a reconstructed version of the...
...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.
This was in a ternary form with the main scherzo in contrast with the trio and then returning to scherzo. The opening theme is comprised of wind instruments followed by horns playing loudly. The scherzo returns with a repeat of the opening winds. The strings then take over in pizzicato and then ending with a repeat of the first movement into the fourth movement. The transition from the third into the fourth movement was said to be one of the most famous in all of classical music. The fourth movement is in sonata form with a fortissimo ending. It is a compressed version of all three previous movements. The tempo increases to presto and harshly stops with a dominant cadence. With a recap crescendo. I chose to put the third and fourth movements together because they have a lot in common and have a bridge connecting the two. They seemed to be linked together better than any of the other movements had to another. The ending was beautiful but did leave me wanting
The plague known as the modern political news cycle has infected all realms of life, including (and certainly not limited to) Western Art Music. As world leaders gather at the G-20 summit, organized by its leader, Angela Merkel- who selected a performance of Beethoven’s 9th Symphony be added to the itinerary. The reason for this selection may be its interpretation as a piece of unity and hope, but one thing is certain, it highlights the contemporary ignorance of WAM.