Mozart and Beethoven
The Symphony number 5 in C Minor by Beethoven is a classical piece that I played in High School, there is a lot of integral moving parts played during this selection. The movement and synchronization between each section, to include notes, tones, pitches, bars, and bridges are exquisite. Listening, as the music builds up and then softens this is known as the (The Subido Sinado Technic). This technique leads your imagination to believe that there’s a competitive force driving the communication of each section as if there some intimate jousting accruing right before your eyes. The structure of the bridge change allowed the mood of the selection to change without recognition. One of the most captivating experiences is the instrumental part, strings, brass, horns, how talented and professional they are, every note is crisp, the melody is enchanting.
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Mozart Symphony number 41, has more of a continuous melody and just like Beethoven the music also builds up and then softens but not as deliberate as Beethoven.
The string and horns are more conclusive. I know there are note changes, I can’t recognize. The structure of the music is free flowing supporting the mood, rhythm melody and texture. The mood changes are mystical, telling of a love story as it intensifies and compassion builds. There are rhythm changes throughout the piece, just not as notable. Classical music is known for their rhythmic changes, from my perspective that is what makes the music beautifully graceful and unique. The melody, not only relaxes you but is more memorable, more than anything the music plays in your mind long after the event
concludes. There are notable similarities, Beethoven came after Mozart so the development of his music was built upon the foundation laid by Mozart and composers before Mozart. Both pieces are classical, Beethoven and Mozart music is full of emotions, telling a dramatic love story. Throughout their selections the music fades from a soft to a loud tone setting conditions for the bridges and rhythm changes. Beethoven and Mozart are praised for writing a second theme which can sound elegant in both major and minor modes. Despite Mozart calling his movement a minuet and Beethoven calling his movement a scherzo, both movements have an opening in the minor mode and a trio in the parallel major. Both composer place their emphasis on rhythm, the notes change from sixteen to quarter note throughout the piece. What sets both men apart are, what they do differently composing the music. The two composer’s musical pieces begin with a C major for Beethoven and Mozart’s C minor chords introducing more depth in scale. Mozart’s music is perfect and distinct Beethoven is more intense and have a greater range of pitch than those of Mozart, while one focusing on harmony and the other on melody. Their personalities are prevalent in the development of the music, Beethoven is blistering and surprising while Mozart is beautifully sweet, a true perfectionist. I have listen to both pieces several times, I wanted to ensure my selection wouldn’t be biased because of my experience playing the Symphony number 5 in C Minor in high school. I love Beethoven’s body of work, knowing he was basically deaf and his disability added to his compassion for music is amazing. The melody of Mozart music takes you to places in music you did know existed, he is a perfectionist every note is played so perfectly. Respectfully, if either performance where at the Schermerhorn Symphony Center I would pay top dollar to attend. Beethoven’s music has more of a personal impact because of my experience, but if I had an option to choose between the two composers, I’ll pick Mozart Symphony number 41 taking another experience off my bucket list.
I was impressed by the range of the pieces that were performed as they were from 18th century classical symphony arrangements to contemporary techno pieces. However, the pieces that moved me most were Mozart’s Molto Allegro, Oaken Sky by Chris Rogerson and Beethoven’s Symphony No. 5. In hindsight, I am surprised that the two pieces from the Classical Era had such an impact on me. Perhaps, “classical” pieces were what I expected to hear at a Symphony. Oaken Sky evoked the most imagery for me and the conductor’s introduction of the piece was perhaps partly responsible for my ability to go from the earth to the sky in my mind’s eye. Oaken Sky was definitely a pleasant surprise and very pleasing to all of my senses. I was fully engaged in body, mind and soul with Rogerson’s composition. Cielito Lindo was interesting and the soloist really enhanced the piece with a stellar performance. Warehouse Medicine caused an incongruent stirring in me; perhaps I was not prepared for electronics to be added to the symphony. Ravel’s composition, Le Tombeau de Couperin, was a moving piece, but did not engage my senses, only my intellect. This work essentially left me feeling confused and although I appreciated the description of the dedication of the work by the composer, this was my least favorite piece. The “CPCC” soloist, Juan Caljero’s, rendition of Cileito Lindo was mesmerizing. Charlotte
Out of all of Beethoven’s one hundred and ten works, he wrote thirty-two piano sonatas. Of those thirty-two piano sonatas, the thirty-first piano sonata was one of the most important and was composed in the year 1821towards the end of Beethoven’s life. It is one of Ludwig van Beethoven’s final sonatas for the piano, given the full name: Piano Sonata No. 31 in A-flat major, op. 110. I am writing about a video performance – found on YouTube – by Richard Goode in 1993. The performance piece is a sonata which is defined by Kerman as “a chamber-music piece in several movements” (Kerman, 427)
The first movement the orchestra was smooth and graceful.The violinist were playing gently,and soft. The second movement is quite faster than the first, and the performers were smiling and enjoying themselves. By the third movement the orchestra was playing faster and louder, and having much fun. The orchestra began feeding off of the crowd, who was enjoying the piece. The fourth movement, the orchestra slowed down and were playing beautifully. The performance was graceful, the conductor just let her hand flow, and barley had to the guide the orchestra, because they had it down pack. The performers did not just play Beethoven Symphony No. 7, but they told a story. one could hear when character went from happy to
It is full of romance, chaos, and excitement, all at the same time. This piece also takes lots of skill to play because it is so unique. The piece also has broad appeal. It is different from most classical compositions, which makes it something that stands out to the audience, and makes it something that they will listen to. Another thing that this work is filled with is emotion, variety, and imagination.
Symphony No. 5 in C minor, composed by the legendary Ludwig van Beethoven, is one of the most famous orchestral musical compositions done by the German-born composer. The symphony is broken down into four movements. The symphony has such a profound effect on so many people because of its use drama by introducing sudden and powerful chords which quickly grabs the audience’s attention as well as creating a variety of musical ideas through his use of excitement by way of fast and slow tempos. The first movement, Allegro con brio, which utilizes the Sonata form, contains an opening sequence or Exposition, which initially compels my attention during its first 6 seconds due to its powerful entry and introduction of the basic four-note motive (short-short-short-long) of the piece. The quick repetition in a lower step using strings in unison keeps me engaged due to its energy, as it sort of
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.
Leonard Bernstein once said, “Mozart is all music; there is nothing you can ask from music that he cannot supply…bathed in a glitter that could have come only from the eighteenth century...It is a perfect product of the age of reason – witty, objective, graceful, delicious. And yet over it all hovers the greater spirit that is Mozart’s – the spirit of compassion, of universal love, even of suffering – a spirit that knows no age, that belongs to all ages” (Kenyon 19-20). Mozart’s effervescent spirit is apparent in letters that he wrote to his family and friends. These letters show that Mozart lived a life full of family feuds, heartbreaks, romance, triumphs, and failures in the short span of thirty-five years. Mozart’s letters prove that he took the music of the eighteenth century and reinvented it using perspective gained in the course of events in his lifetime.
Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and unforced.” (Bonds 210-211) Beethoven’s criticisms ranged from ‘genius’ to grim dislike. Mozart and Beethoven were influenced by things going on around them such as: love, nature, and the Enlightenment.
Beethoven, from life to death, was a great musician. As a composer or as a pianist, he is known as great. Many of his pieces are still known to people today. He wrote music from when he was a young boy to shortly before he died, despite going deaf. He is also widely known as the greatest composer of all time. Even in his last years of deafness and death, he wrote some of his most famous pieces of music. He was the first musician that had a salary to compose when and how he felt. (Ludwig van Beethoven Biography, http://www.lvbeethoven.com/Bio/BiographyLudwig.html) (Ludwig Van Beethoven, Germany Composer, https://www.britannica.com/biography/Ludwig-van-Beethoven)
...movement. The most dramatic being the French horn and the violin, which show a dynamic that is loud and deep to Soft and quite. The tempo of the composition is fast throughout the first movement. The First movement of the Fifth Symphony starts of fast from the exposition, it would be too fast for people to dance to. One thing that is unique to the First movement is the 3+1 rhythm. The “short-short-short-long rhythmic motif” Beethoven forum helps create momentum for a transition from exposition to development stage of the First Movement. Beethoven’s First Movement of the Fifth Symphony relies heavily on C- Minor to create the harmony to make the Sonata sound complete. Lewis Kingwood explains that Beethoven ability to seamlessly make his transition from minor key to minor key helps make his Fifth Symphony Movement one sound as it if it is just one flowing composition.
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
In this essay, I’m going to discuss two composers- Wolfgang Amadeus Mozart and Ludwig van Beethoven. I will first tell you about the life of these men. Then, I’ll compare and contrast their music, the time period of which they lived in, the purpose of their music and more.
...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 Genius of Mozart documentary it starts with Mozart’s father, Leopold Mozart, which Wolfgang Mozart had got his passion of music from. They were close with one another and developed a close bond that connected with no only Father and Son but as well as music. His father was not only his father; he was a teacher to Mozart. Mozart’s father said he was a light that was contributed to others, and that he would not belong to just one class. As Wolfgang Mozart grew up, he had to deal with an illness called arthritis. Leopold was close to his son and he knew everything about Mozart from top to bottom. Even things that we still to this day do not know about Mozart. Mozart uses music to express his emotions like many other composers do as well. Mozart
Wolfgang Amadeus Mozart is often referred to as the greatest musical genius of all time in Western musical tradition. His creative method was extraordinary: his writings show that he almost always wrote a complete composition mentally before finally writing it on paper. Mozart created 600 works in his short life of 35 years. His works included 16 operas, 41 symphonies, 27 piano concerti, and 5 violin concerti, 25 string quartets, and 19 masses.