Tchaikovsky`s Cello Concerto - Johnstone
... theme is sturdy, with a powerful etched rhythm and second-beat emphasis. It brings to mind the main theme of the Lalo Cello Concerto in D minor, and the opening to the Brahms Op. 111 String Quintet. Surely, Tchaikovsky was familiar with both works. The theme of Tchaikovsky's main sketch is in A-B-A ...
... theme is sturdy, with a powerful etched rhythm and second-beat emphasis. It brings to mind the main theme of the Lalo Cello Concerto in D minor, and the opening to the Brahms Op. 111 String Quintet. Surely, Tchaikovsky was familiar with both works. The theme of Tchaikovsky's main sketch is in A-B-A ...
ESQ Program Template - Huntsville Chamber Music Guild
... optimistic in tone, with all of its significance residing solely in the music itself. The quartet opens with a subdued, but sharply etched theme played alone by the first violin. After some expansion, the cello introduces a contrasting lyrical second theme, while the viola plays a reiterated staccat ...
... optimistic in tone, with all of its significance residing solely in the music itself. The quartet opens with a subdued, but sharply etched theme played alone by the first violin. After some expansion, the cello introduces a contrasting lyrical second theme, while the viola plays a reiterated staccat ...
to file about classical music.
... 1750s in Vienna. But the length and weight of pieces is still set with some Baroque characteristics: individual movements still focus on one affect or have only one sharply contrasting middle section, and their length is not significantly greater than Baroque movements. At this time there is not yet ...
... 1750s in Vienna. But the length and weight of pieces is still set with some Baroque characteristics: individual movements still focus on one affect or have only one sharply contrasting middle section, and their length is not significantly greater than Baroque movements. At this time there is not yet ...
KMBB Lecture 2
... form is odd – sections tacked on without apparent concern for balance or intelligibility. The coda, which hardly ‘knows’ the rest of the piece, involves ‘harsh’ percussive chords, a melody at once noisy and hollow, a few basic root-position chords. It is telling us something! Compare this with the o ...
... form is odd – sections tacked on without apparent concern for balance or intelligibility. The coda, which hardly ‘knows’ the rest of the piece, involves ‘harsh’ percussive chords, a melody at once noisy and hollow, a few basic root-position chords. It is telling us something! Compare this with the o ...
Acclaimed Russian-American classical pianist performs August 9
... He was permitted to play in the American Embassy, with private audiences that included diplomats and the Western press. (These concerts weren’t without incident: one 1986 performance became a cause célèbre when it was found that several piano strings had been cut before the performance. The strings ...
... He was permitted to play in the American Embassy, with private audiences that included diplomats and the Western press. (These concerts weren’t without incident: one 1986 performance became a cause célèbre when it was found that several piano strings had been cut before the performance. The strings ...
answer key - Belmont University
... 5. Identify the key of the melody. Remember, key is based on how the music sounds, not on what key signature is used. These exercises don’t always end on tonic. Look at the whole melody and decide what scale is being used, what accidentals might imply leading tones, and what tone would sound like to ...
... 5. Identify the key of the melody. Remember, key is based on how the music sounds, not on what key signature is used. These exercises don’t always end on tonic. Look at the whole melody and decide what scale is being used, what accidentals might imply leading tones, and what tone would sound like to ...
Beauty Born of Struggle
... composition, in which all parts are sung to instrumental accompaniment. Beethoven wrote just one opera, the two-act “Fidelio,” which describes how a woman disguised as a prison guard rescues her husband from death in a political prison. Sonata: A composition for one or two instruments, typically in ...
... composition, in which all parts are sung to instrumental accompaniment. Beethoven wrote just one opera, the two-act “Fidelio,” which describes how a woman disguised as a prison guard rescues her husband from death in a political prison. Sonata: A composition for one or two instruments, typically in ...
Read notes on the program
... Quartet in B-flat Major, Opus 130 (1825-6) Grosse fuge, Opus 133 (1825) When the young Ludwig van Beethoven published his first six string quartets in 1800 (including the Gmajor Quartet heard earlier), he was still working under the shadow of Joseph Haydn. Beethoven reached a new level of independen ...
... Quartet in B-flat Major, Opus 130 (1825-6) Grosse fuge, Opus 133 (1825) When the young Ludwig van Beethoven published his first six string quartets in 1800 (including the Gmajor Quartet heard earlier), he was still working under the shadow of Joseph Haydn. Beethoven reached a new level of independen ...
program note Artemis - University of Chicago Presents
... Schubert composed the Quartettsatz–that title, which did not originate with Schubert, means simply th ...
... Schubert composed the Quartettsatz–that title, which did not originate with Schubert, means simply th ...
Document
... Motive “x” - the motive Beethoven called “fate knocking at the door” is constantly present in the whole movement This motive appears in other 3 movements of symphony also This motive IS the MAIN IDEA of work ...
... Motive “x” - the motive Beethoven called “fate knocking at the door” is constantly present in the whole movement This motive appears in other 3 movements of symphony also This motive IS the MAIN IDEA of work ...
Program and Bio - SiliconValleyHarp.org Home Page
... Sonata in G Major by Carl Philipp Emanuel Bach is his only original composition for harp. Although C.P.E. Bach was the son of Johann Sebastian Bach, or rather the more famous Bach, his style of composition was much different; in fact, whereas his father was known for fugues and suites, he himself pr ...
... Sonata in G Major by Carl Philipp Emanuel Bach is his only original composition for harp. Although C.P.E. Bach was the son of Johann Sebastian Bach, or rather the more famous Bach, his style of composition was much different; in fact, whereas his father was known for fugues and suites, he himself pr ...
Modern Art Music Terms - Western Michigan University
... on dynamics, texture and tone color than on individual pitches. Xenakis Metastaseis (1954) Pointillism: A musical texture promoted by Webern in which the pitches of a melody are presented just a few at a time (isolated "points" of sound) rather than in a traditional continuous melodic line in the sa ...
... on dynamics, texture and tone color than on individual pitches. Xenakis Metastaseis (1954) Pointillism: A musical texture promoted by Webern in which the pitches of a melody are presented just a few at a time (isolated "points" of sound) rather than in a traditional continuous melodic line in the sa ...
lecture 18
... Romanticism represent qualities which co-existed throughout the periods of musical history (1750-1900) [concurrent tendencies] normally assigned to one or the other. The change from Classic to Romantic is, in essence, a change of emphasis, not a sudden, total transformation. Musical Romanticism is m ...
... Romanticism represent qualities which co-existed throughout the periods of musical history (1750-1900) [concurrent tendencies] normally assigned to one or the other. The change from Classic to Romantic is, in essence, a change of emphasis, not a sudden, total transformation. Musical Romanticism is m ...
W. Dean Sutcliffe: The Sociable Muse – Haydn, Mozart, Beethoven
... the way this sociable impulse penetrates to the core of late 18th-century music. The gracious riposte is connected with the emotional aspects of the music; it is linked with the idea of concession, of interaction, of giving “reciprocal pleasure” as Germaine de Staël wrote in Paris in 1784. Phrases i ...
... the way this sociable impulse penetrates to the core of late 18th-century music. The gracious riposte is connected with the emotional aspects of the music; it is linked with the idea of concession, of interaction, of giving “reciprocal pleasure” as Germaine de Staël wrote in Paris in 1784. Phrases i ...
Daniel Hope - Music@Menlo
... of each of those composers’ respective violin concerti. Joachim is also credited with introducing Brahms to Robert and Clara Schumann in 1853, thus beginning one of the most complex triangular relationships ...
... of each of those composers’ respective violin concerti. Joachim is also credited with introducing Brahms to Robert and Clara Schumann in 1853, thus beginning one of the most complex triangular relationships ...
6. Michael Tippett Concerto for double string orchestra: movement I
... Bliss and Britten, had established an English tradition of string orchestral writing. (In 1932, a further impetus to the English string orchestra was given by the formation of the Boyd Neel Orchestra whose aim was to revive the early string repertoire.) However, few had explored the medium of a doub ...
... Bliss and Britten, had established an English tradition of string orchestral writing. (In 1932, a further impetus to the English string orchestra was given by the formation of the Boyd Neel Orchestra whose aim was to revive the early string repertoire.) However, few had explored the medium of a doub ...
MUSC1 - Set work Analysis (2015): Haydn - Symphony No
... England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. ...
... England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. ...
Secular Vocal Music - Fulford School : VLE
... with straightforward harmony and a fairly plain piano part – a sort of Classical style lite. ...
... with straightforward harmony and a fairly plain piano part – a sort of Classical style lite. ...
William Mathias - Dr David Wright
... His other substantial choral and orchestral work is This World's Joie. It is set in four sections corresponding with the seasons. Spring represents Youth; Summer, Maturity, Autumn, Decline and Winter, Death. Many of the ingenious things that Mathias does in this piece may only be appreciated by prof ...
... His other substantial choral and orchestral work is This World's Joie. It is set in four sections corresponding with the seasons. Spring represents Youth; Summer, Maturity, Autumn, Decline and Winter, Death. Many of the ingenious things that Mathias does in this piece may only be appreciated by prof ...
Figure 1 - WordPress.com
... Austria to meet Alban Berg, who they determined would not be a good role model for the twenty-year-old. The Simple Symphony is dedicated to another important figure in his child hood-his viola teacher Audrey Alston, from whom he began taking lessons at age 10. (Perhaps the yearning for an alternate ...
... Austria to meet Alban Berg, who they determined would not be a good role model for the twenty-year-old. The Simple Symphony is dedicated to another important figure in his child hood-his viola teacher Audrey Alston, from whom he began taking lessons at age 10. (Perhaps the yearning for an alternate ...
Notes for the Aviv Quartet with Irina Nuzova, October
... took place in Paris in 1868, a daring performance for all involved since the French were virulently anti‐ Brahms. Brahms biographer Jan Swafford marks this work as one of the first extended works in which Brahms achieved a complete unity of feeling across all the movements. Swafford writes: “Of th ...
... took place in Paris in 1868, a daring performance for all involved since the French were virulently anti‐ Brahms. Brahms biographer Jan Swafford marks this work as one of the first extended works in which Brahms achieved a complete unity of feeling across all the movements. Swafford writes: “Of th ...
Untitled document.docx
... movement, however what is sure is that it is used for dramatic effect, blaring confusion around the audience and orchestra. What is perhaps deliberate is the creation of the tri-tone through the use of G minor and Db, an interval commonly known as the ‘devil’s interval’. This is achieved through alt ...
... movement, however what is sure is that it is used for dramatic effect, blaring confusion around the audience and orchestra. What is perhaps deliberate is the creation of the tri-tone through the use of G minor and Db, an interval commonly known as the ‘devil’s interval’. This is achieved through alt ...
Concerto for Double String Orchestra, Movement I
... The movement is in a kind of sonata form (with Exposition, Development and Recapitulation, first and second subjects, etc.). Consult The New Grove or other authoritative source for full description of sonata form. A common element in traditional sonata form is strong thematic contrast between first ...
... The movement is in a kind of sonata form (with Exposition, Development and Recapitulation, first and second subjects, etc.). Consult The New Grove or other authoritative source for full description of sonata form. A common element in traditional sonata form is strong thematic contrast between first ...
Program notes by - Symphony Orchestra Augusta
... for thirteen wind instruments, are major works of great musical depth. With his serenade Eine kleine Nachtmusik, Mozart brought the form back indoors, since it was scored for two violins, a viola, a cello and a double bass – or multiples thereof – and would be hard put to compete with outdoor noise. ...
... for thirteen wind instruments, are major works of great musical depth. With his serenade Eine kleine Nachtmusik, Mozart brought the form back indoors, since it was scored for two violins, a viola, a cello and a double bass – or multiples thereof – and would be hard put to compete with outdoor noise. ...
Classical period
... mainly homophonic — melody above chordal accompaniment (but counterpoint is by no means forgotten, especially later in the period). Variety and contrast within a piece became more pronounced than before. Variety of keys, melodies, rhythms and dynamics (using crescendo, diminuendo and sforzando), alo ...
... mainly homophonic — melody above chordal accompaniment (but counterpoint is by no means forgotten, especially later in the period). Variety and contrast within a piece became more pronounced than before. Variety of keys, melodies, rhythms and dynamics (using crescendo, diminuendo and sforzando), alo ...
Sonata form
Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period).While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this, sonata form is difficult to pin down in a single model.The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.Since its establishment, the sonata form became the most common form in the first movement of works entitled ""sonata"", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.