Mozart was born on January 27th, 1756 in Salzburg, Austria. Growing up, he was capable of playing multiple instruments, which he started playing to the public at the age of 6. He started to compose at a very young age. Wolfgang was influenced by Bach, Hayden, Handel and many more composers. One of his most famous pieces were Eine Kleine Nachtmusik (A Little Night Music, 1787) which is a piece that is played in Mozart Mix.
In March from “Rondo Alla Turca” the piece played imitates the sound of Turkish Janissary bands, which was popular during the classical era. The Marriage of Fiagaro was a really popular piece that Mozart had written. Eine Kleine Nachtmusik was a serenade that was finished around the time when Mozart was busy with the second act of his opera, Don Giovanni.
Some of the musical features included in this extract would be the timbre. Throughout the entire extract
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you can predominantly hear the low brass pulling the entire piece together, in addition to this, you can also hear the flutes and how they carry the melody of the piece. You can hear how the trumpets come in when Mozart felt like he needed to emphasize a note/part in Aria from “The Marriage of Figaro.” This doesn't continue on for long, until the parts are then switched, giving the more emphasized notes to flutes, and the main part to low brass and trumpets. Another one of the musical features included in this extract would be the time signature.
Most of this mix is played in 4/4 time. For a quick second, (bar 44) the time signature was switched to 2/4.
When looking at this extract, I noticed that key signatures weren't changed until the 20th bar. In bar 20, the trumpets play a note that isn’t in their key signature. The note that is raised (F to . an F#) is not a apart of the relative minor, which would be an A, making this note an accidental I found that in bar 32, while playing Alleluia, the flutes are playing an F# which isn't apart of their major key signature. From looking at other pieces of work mean I can identify that key they’re playing is not Bb Major, but now G Minor.
The extract of Mozart Mix is played at Allegro Moderato, the entire way through. Mozart extended notes giving an illusion of a piece/part having a different time signature, while still being in a 4/4 time signature and Allegro Moderato.
The melody of this mix, moves back and forth from being sweet and soothing, to fast and lively while still making it flow
well.
1. Wide-ranging, dynamically expressive tonal melodies are played in equal temperament and generated from logical tonal harmonic progressions. 2. A simple, isometric, and restricted rhythmic range is used. 3. The texture is homophonic, that is, a principal melody line with accompaniment. 4. Clear periodic formal structure is favored. 5. The instrumentarium is restricted and standardized.
On January 27th, 1756, at 9 Getreidegasse in Salzburg, Austria, a Jupiter among mere men and composers was born. Wolfgang Amadeus Mozart was born the son of Anna Maria (1720-1778) and Leopold Mozart (1719-1787), a composer, teacher, and the fourth violinist for Count Leopold Anton von Firmian. Already learning to play the keyboard at a mere age of three years old, Mozart would learn by sight as he watched his seven year old sister took lessons from her music teacher. As Mozart got older and started to develop as a player and composer, his traveled with his father around Europe performing as a child ...
"Mozart for Four." The Concert: A Classical Music Podcast . Web. 14 Feb 2010. .
Mozart was born to Leopold and Maria Pertl Mozart. Mozart’s father, Leopold, was a composer, violinist, and assistant concert master in the Salzburg court. Due to the fact that his father was deeply involved in music, Mozart was influenced at very young age. Mozart had begun learning how to play the piano as early as the age of three. Under his father’s advisement, Mozart and his sister,
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
The next element I discovered was the pitch of the music. Relatively speaking, I would estimate that the majority of the pieces were on the high side of the pitch, and therefore frequency, scale. The range of pitches was moderate, but as stated previously, mostly higher notes were used.
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
40 is an effective composition that allows one’s mind to imagine vivid pictures. While listening to the piece by Mozart, I felt a sense of urgency throughout the piece while eliciting strong emotions of passion and grief. Composers like Richard Wagner and Peter Tchaikovsky were greatly influenced by Mozart’s musical capabilities of conveying intense feelings. The listener is affected by the different measures of commonalties between the musical periods, the composers of those periods and the pieces they compose. Mozart’s music pulled away from the norms and constraints of period style music. This composition enhances my knowledge because he has created compositions that employ the sonata, rondo, aria as well as other forms to exude strength, beauty, and grace with every
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...
In the first movement of his Kegelstatt Trio for Clarinet, Piano, and Viola K. 498, Wolfgang Amadeus Mozart hints at various styles and topics, such as sensibility and sturm und drang, overall creating an intimate vivid experience for both the performers and the listeners.
While “Part 3” makes bold moves within a ternary setting with Bishop as a protagonist, “Part 4” holds on to a 5/4 tuba groove bolstered by Eisenstadt’s rational drumming, which supports Webber’s trippy flute. Meanwhile, other instruments join, creating a carefree bedazzlement.
...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.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
...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.