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Don quixote analysis
Critical analysis of don quixote
Critical analysis of don quixote
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Richard Strauss was born in Munich, Germany on June 11, 1864. He was born to Franz Joseph Strauss, who was regarded as one of the best French hornists of his time, and Josepha Pscorr. Strauss composed Don Quixote, technically known as “Fantastic Variations on a Theme of Knightly Character, in the year 1987 and it was first performed on March 8, 1898 in Colgne, Germany and was conducted by Franz Wüllner. It is based on the novel “El Ingenioso Hidalgo Don Quijote de la Moncha”, which was written by Michael Cervantes and published in two separate parts, the first in 1605 and the second in 1615. The genre of this piece is called Symphonic Poem, or Tone Poem.
A symphonic poem is a piece of orchestral music that is based on a non-musical source, for example the content of a poem, novel, perhaps a painting or even a landscape. It is believed that Franz Liszt, an Hungarian virtuoso and composer, invented the form and the term. In a lot of his compositions, Liszt uses theatrics to parallel the non-musical emotions of his sources, “...the poetic idea is simultaneously the formative element.” Liszt also said that “when ‘the music does not develop intrinsically from within, it becomes ‘literature music’.” A symphonic poem does not merely copy its source of inspiration, for example taking the literal meaning of it, but the music creates its own “self” from the inspiration.
One of the best things about this genre, is that every composer who has worked within it has approached it a different way. Remarkably, when the same composer is using the inspiration of a novel for one score and then the inspiration of a painting to another, you see that even the same composer will differentiate in their musical design depending on their source of inspir...
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...sition, that some speculate, in mourning of Munich and the many, famous, opera houses which were destroyed due to bombing. This composition was called “Metamorphosen”; written for 23 solo strings, this piece was included in Strauss’ “Indian Summer”, which also included an oboe concerto and the Four Last Songs. Strauss never told anyone exactly what this piece was about, but many have speculated that it revolved around the happenings in World War II. Some think it is about what was mentioned above, and other think it may be about other aspects of the war.6
Richard Strauss died in 1949, but he will never be forgotten. Though he wasn’t the first, nor the last, to use the Symphonic Poem music style, his pieces are some of the most well known and memorable. His interpretation of “Don Quixote” astounded people when it was first played, and it still astounds people today.
The year is 1788 as Wolfgang Amadeus Mozart began to work on his last three symphonies during a time of strife for musicians as the Austro-Turkish War continues to war on in Austria. Tired from moving his family from central Vienna to the suburbs of Alsergrund all while in debt to his ears as he continued to borrow money from friends including a fellow mason, Michael Puchberg, Mozart finished his final symphony on August 10, 1788. This piece, nicknamed the “Jupiter Symphony,” coined by impresario Johann Peter Saloman, was Mozart’s longest symphony with a total of four movements, a typical symphonic form during the Classical era. The Jupiter Symphony totals to about forty five minutes of music ending with a quintuple fugato that brings back the five melodies introduced in the final movement making the closer one of the most complex examples of counterpoint that has ever been created. My goal shall be to give the reader a sense of Mozarts life at the time of this composition, a detailed analysis of all four of these movements, as well as a look at why this piece was seen as a work of innovation.
In this essay I am going to explore the unique collaboration between director and composer and how much a long-term collaborative process between the two can influence the establishment of the former as an author. An author, in this case, stands for an authority actively shaping the film’s story and message but at the same can be understood as an author of music, I will try to consider both factors. In this process I want to begin with filmmaker’s general relationship to music, then while answering the main question I will give examples of the European collaboration of Theo Angelopoulos and Eleni Karaindrou, focusing on their approach of using music in new ways, as well as examples from the more known collaborations between Alfred Hitchcock and Bernard Herrmann and David Cronenberg’s collaboration with Howard Shore. Furthermore, I am going to include conclusions from my personal experience I have had with my friend and director Nuno Miguel Wong. Concurrently this Essay is not an analysis of the music in the films of the above-mentioned collaborations, but rather focuses on their distinct working relationship and how it might have affected their musical approach and productivity.
Wolfgang Amadeus Mozart and Ludwig van Beethoven are very famous past composers that have created many pieces that have influenced not just people of their time, but people in modern times as well.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
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
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
Music and literature are constantly evolving with each new release, but how ground breaking are these pieces compared to its contemporaries? Miles Davis and Jorge Luis Borges have contemplated and answered this question frequently. Rather than add on to a previous style, these two took the future of their genres into their own hands. In Davis’s “Kind of Blue” as well as Borges’s “The Garden of Forking Paths,” old ideas are completely abandoned and new, inventive styles flourish. Not only do these two play with the content of their work, but they also explore different styles and means of composition. Both Davis and Borges experiment with new innovative ideas and concepts in their works successfully creating a unique style of their own.
When one considers the history of classical music, often images of Vienna, Prague, and other European cities come to mind. Centuries of European musical achievement and development have implanted in society the idea that classical music is an inherently European creation. Considering the accomplishments of countless composers such as J.S. Bach, Ludwig van Beethoven, and Antonin Dvorak, this preconception is certainly not unfounded. However, Leonard Bernstein's rise to international fame proved that one cannot neglect American composers in a discussion of the development of Western music. Combining elements of a vast array of musical styles, Bernstein's unique compositions reached a wide variety of audiences and often bridged gaps between distinct musical genres. Through his long conducting career, profoundly influential compositional output, and televised music lectures, Leonard Bernstein left a lasting legacy which came to define American music in the 20th century.
My composer, Steve Reich, has written and continues to write contemporary, minimalist, vocal, and tape pieces. His pieces these pieces have been influenced not only by what he has encountered, but the music he had composed has influenced many others composer similar to him (Service). In this paper I will give a short biography of Reich that includes the many different places that he studied, what influenced his not so ordinary music styles, and what made him who he is today. I will also talk about his composition styles, which are different from many others, what influenced them, and what types of music her produced. Lastly, I will give my evaluation of one of his several world-renowned compositions.
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.
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.
Mendelssohn was born in Hamburg in 1809. His father Abraham Mendelssohn was a banker, while his mum Lea Mendelssohn was a highly educated artist and musician. Mendelssohn first had his piano lesson from his mum, but soon he was sent to study with the best teachers at that time such as Marie Bigot and Ludwig Burger. He also took composition lessons with Karl Zelter, who was the professor of the University of Berlin. Under their proper guidance, he completely showed his music talent- he first appeared as pianist at nine and as a composer at ten. At his age of twelve, he already composed nine fugues, five symphonies for strings, two operas and a huge number of smaller pieces. When he was sixteen, the publication of his Octet in E-flat Major for strings and Overture to A Mid Summer Night’s Dream marked his full maturity.
Although Beethoven had a rough life as a child and as he got older, he still was able to produce phenomenal compositions. He refused to conform to traditional musical standards and strived for perfection. Beethoven took composing music to a whole new level. “Beethoven opened up new realms of musical expression that profoundly influence composers throughout the nineteenth century.”
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).