The Trumpet Concerto For Two Trumpets Analysis

717 Words2 Pages
bulb-icon

Recommended: Late Baroque era compared to the early era

The Baroque style of music was in prominence from the beginning of the 17th century until the mid-18th century. Some primary features of this style, particularly in the later years, include an emphasis on polyphonic textures and a continuity throughout the entire piece. Most compositions were created for specific events and sometimes written for particular instruments. (Kamien, 2015). The Trumpet Concerto for 2 Trumpets, composed by Antonio Vivaldi, is one example of these late Baroque style compositions and one we can use to analyze: the common elements, the overall effect, and the composer’s possible perspective.
A concerto is a composition for an instrumental soloist along with a small group of the orchestra that usually follows a pattern of fast, slow, fast (Kamien, 2015, p.407). A movement is like a short story in a larger movie. Kamien (2015) states, "a movement is a piece that sounds fairly complete and independent but is part of a …show more content…

Vivaldi wanted to go into priesthood, but due to illness he was unable to continue this pursuit. (Kamien, 2015, p. 126). He spent the rest of his life involved in many aspects of music: teaching, composing, and conducting. It is important to reflect on the composer’s history to gain insight into their perspective. Kamien (2015) describes Vivaldi as a virtuoso violinist which is why he mainly featured violins in his works (p.127). The piece Trumpet concerto for 2 trumpets was the only concerto he created featuring trumpets. (allmusic, n.d.). When listening to this piece, having movements of optimism surrounded by one of relative questioning, it makes one feel it is representative of his view of life. Just as life has its ups and downs, the concerto had a momentary slowdown but returned to an upbeat tone afterward. This possibly shows that his mindset was one of optimism and

Show More
Related

  • carnegie hall

    781 Words  | 2 Pages

    In the first part of this recital the vivaldi, contained a string Quartet. After the first intermission, I looked down at the podium and noticed that the precussions were added which included the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a high note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part of the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composer's manuscript by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.

    Read More

  • Analysis Of Sinfonia In D

    1023 Words  | 3 Pages

    This is a departure from the original baroque ensemble, tuning, and trumpet. Instead of a piano, a string ensemble would have accompanied the solo trumpet. The tuning used today is not what Torelli would have envisioned, as our modern tuning would have seemed quite sharp to him. The baroque trumpet originally had no valves and was (and is today) considered very demanding to play. Despite these differences, music played on a modern piccolo trumpet is as exciting to hear today as it was in the

    Read More

  • Concert Band Research Paper

    1989 Words  | 4 Pages

    A. The Baroque Wind Band. Lipscomb University, 2007 -. Web. The Web.

    Read More

  • The Late Baroque Style Compared to the Classical Style

    526 Words  | 2 Pages

    As the late Baroque period morphed into the new period known as the classical period, technological advances and new compositional techniques and ideas created new opportunities for the musicians of the period. The changes allowed for new performance techniques, forms, performance venues, and newly available compositional orchestrations to be improved and evolved into something new and improved for the new period.

    Read More

  • A Feminist Journey through Beethoven's Musical Structure

    3005 Words  | 7 Pages

    William Henry Hadow and Charles Rosen are two historians who talk primarily about musical context. Hadow sets his discussion in the framework of classical composers' movement away from Baroque forms. He says that when Beethoven and his contemporaries chose ternary form over Baroque binary, typified in the dance suite, they chose a structure that was then used successfully into the twentieth century. This was only poss...

    Read More

  • John Rupert Martin's "Baroque"

    1152 Words  | 3 Pages

    This book by John Rupert Martin is a good introductory book in the understanding of Baroque artists and their tremendous variety.  Martin defines the Baroque characteristics, but only very broadly leaving a significant amount of room for the reader to make his own deductions.  In general, Martin believes that the typical definitions of the Baroque are "too restrictive and hence likely to create more problems of classification and interpretation than it solves."  Even the time of the Baroque is left open to the reader when Martin says the Baroque is roughly comprehended by the seventeenth century.  It is important to note at the outset that this is only a convenient approximation;  for epoch as a whole can certainly not be fitted into such a strait-jacket."  This helps to define the Baroque much more generally as a gradual change which can much easily be noticed from the present than the past.

    Read More

  • Antonio Vivaldi: The Age Of Abolitionism

    647 Words  | 2 Pages

    Antonio Vivaldi born on March 4th 1678, which was the Baroque music style. In 1678 not only was it the baroque period it was also the years just after the Renaissance. 1670s was part of the Age of Abolitionism. The Age of Absolutism was the age when European monarchs struggled to centralize their power. And in Britain the English Civil war and the glorious revolution happened a few years prior to Vivaldi's life. In Russia, Peter the Great and Catherine the great were reforming Europe and trying to improve it. Antonio lived until July 28th 1741, in his life the enlightenment happened, it was the age of reason, philosophy, and age of new music. Great music and composers came out of this era, Ludwig van Beethoven, Johann Bach, Frederic Chopin, George Handel, Wolfgang Mozart and many more composers. Also under this time ballets and operas became popular to the public. This was the time of the application of the Renaissance. Antonio Vivaldi had an interesting life during this time period, his childhood, his outstanding music and unique style, and influence were special for this time.

    Read More

  • Analysis Of Let The Trumpet Sound

    743 Words  | 2 Pages

    Throughout Let the Trumpet Sound: Part one, Odyssey, we learn about the early life of Martin Luther King, Jr. (or M.L according to the book). The writer, Stephen B. Oates, tells different stories of MLK’s childhood: from him going to Jesus to his Grandmother dying. Though the telling tales, the reader understands what made MLK develop into great man; which changes how the readers view MLK. Before this book, we saw MLK as a man gifted by God, which is he is, that accomplished great wonders. However, the success that he had was not this own. This family members, as well as influential thinkers, laid down the foundation, which MLK use to propel himself to help others.

    Read More

  • Antonio Vivaldi

    557 Words  | 2 Pages

    In 1703 Vivaldi became a priest and acquired the nickname "The Red Priest", since he had red hair. He had become a priest against his own will because it was the only possible way for his poor family to obtain free schooling. In 1704 he was pardoned from celebrating the Holy Mass because of his ill health, and later became a violin teacher at an orphanage for girls called Ospedale della Pietà in Venice. The orphans soon started to gain appreciation and esteem as Vivaldi wrote most of his concertos, cantate and sacred music for them. In 1705 the first collection of his works was published. He was a prolific composer and is most well known for composing over 500 concertos, 46 Operas, sinfonias, 73 sonatas, chamber music, and sacred music. His most famous work is said to be the Four Seasons.

    Read More

  • Musicians and Composers of the Renaissance

    1760 Words  | 4 Pages

    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.

    Read More

  • Music and Musicians in the Renaissance

    1611 Words  | 4 Pages

    From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...

    Read More

  • Literary Analysis Of Joseph Haydn And Ludwig Van Beethoven

    1310 Words  | 3 Pages

    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.

    Read More

  • Giuseppe Torelli's Contribution To The Development Of The Instrumental Concerto

    973 Words  | 2 Pages

    Although the foundation of his career is as a virtuoso violinist and composer of string chamber works, his involvement at S. Petronio led him to contributing immensely to the development of trumpet repertoire. While it is not known whether he studied under Leonardo Brugnoli or Bartolomeo Laurenti while building his career as a performer, they were both S. Petronio players and ultimately led to his involvement

    Read More

  • Baroque and Classical Periods in Music

    813 Words  | 2 Pages

    Baroque music is characterized by its development of tonality, elaborate use of ornamentation, application of figured bass, and the expression of single affections. A considerable philosophical current that shaped baroque music is the interest in Renaissance ideas that spawn from ancient Greece and Rome. Ancient Greeks and Romans considered music to be an instrument of communication that could easily stimulate any emotion in its listeners. Therefore, musicians became progressively knowledgeable of the power one’s composition could have on its audiences’ emotions. Because of this, one of the primary goals of baroque art and music was to provoke emotion in the listener, which is closely connected to the “doctrine of affections”. This doctrine, derived from ancient theories of rhetoric and oratory, was the theory that a single piece of art or a single movement of music should express one single emotion. Intrinsically, instead of music reflecting the emotions, composers aspired to cause emotions in the listener. Ma...

    Read More

  • A View of Vivaldi’s Concerto for Two Violins

    1713 Words  | 4 Pages

    According to Michael Talbot, of Grove Music, as well as the liner notes from the Analekta Classical Music CD, Antonio Vivaldi was born to Giovanni Battista and Camilla Calicchio in Venice in 1678.  Giovanni made a profitable living as an accomplished violinist, and became Vivaldi’s main instructor from an early age.  The oldest of nine children, Vivaldi led the way in studying music, and became the most musical of his siblings.  Vivaldi spent much time learning about and preparing to be ordained to the office of a priest.  In 1703, he was ordained a priest, but resigned after just a year due to his acclaimed medical limits (Heller 38-40).  For his entire life, Vivaldi struggled with the effects of bronchial asthma and was unable to play wind instruments.  Though his asthma was a real issue, there is some question about the actual reason of his resignation.  He was often rumored to leave a Mass when inspired with new musical ideas.  After serving as a priest, Vivaldi was hired by the Ospedale della Pieta, one of four learning institutions intended for orphaned, abando...

    Read More

More about The Trumpet Concerto For Two Trumpets Analysis

Open Document