program notes - Mercury Houston
... movements marked the musical style of the revolutionary era. Against the backdrop of that unifying device, the main themes of the opening movement are some of the most lyrical and inspired by Beethoven: an expansive first theme and stirring anthemic second theme, both in the tonic key of D major in ...
... movements marked the musical style of the revolutionary era. Against the backdrop of that unifying device, the main themes of the opening movement are some of the most lyrical and inspired by Beethoven: an expansive first theme and stirring anthemic second theme, both in the tonic key of D major in ...
Sample Program Notes for Keyboard Recitals
... French poetry. Chopin was the first to apply the term to a single-movement instrumental work. While the four ballades are said to have been inspired by the writings of Polish poet Adam Mickiewicz, Chopin was not fond of programmatic music, and did not conceive them to correspond to specific narrativ ...
... French poetry. Chopin was the first to apply the term to a single-movement instrumental work. While the four ballades are said to have been inspired by the writings of Polish poet Adam Mickiewicz, Chopin was not fond of programmatic music, and did not conceive them to correspond to specific narrativ ...
Analysis - Cary Academy
... the Exposition. It establishes the primary themes that will be later developed and altered so that they may later become transitions to a related key section or to a closing section. It will then usually repeat itself before transitioning to the next stage. In many ways, the principal theme is much ...
... the Exposition. It establishes the primary themes that will be later developed and altered so that they may later become transitions to a related key section or to a closing section. It will then usually repeat itself before transitioning to the next stage. In many ways, the principal theme is much ...
4th Grade - Rocklin Academy Meyers
... Classical Era. Romantic music was much more emotional, full of imagination, and was not so concerned with following rules. We spent some time discussing the characteristics of the Romantic Era and how they apply to all art created during that period, not just music. We looked at some art by Goya and ...
... Classical Era. Romantic music was much more emotional, full of imagination, and was not so concerned with following rules. We spent some time discussing the characteristics of the Romantic Era and how they apply to all art created during that period, not just music. We looked at some art by Goya and ...
Program Notes Brenda Dalen Wolfgang Amadeus Mozart (1756
... The “Kegelstatt” Trio is cast in three movements. The opening Andante, in sonata form, favours the clarinet and piano in the presentation and development of the two main themes, although the viola does play the second theme in the recapitulation. The second movement is a robust minuet. In the contra ...
... The “Kegelstatt” Trio is cast in three movements. The opening Andante, in sonata form, favours the clarinet and piano in the presentation and development of the two main themes, although the viola does play the second theme in the recapitulation. The second movement is a robust minuet. In the contra ...
Slide 1
... many features which are common to both works. Perhaps it is firstly important to note although Copland was composing in the 20th Century he was heavily influenced for this work by the Neo Classical style as seen in the music of other 20th century composers such as Stravinsky and Prokofiev. Neo Class ...
... many features which are common to both works. Perhaps it is firstly important to note although Copland was composing in the 20th Century he was heavily influenced for this work by the Neo Classical style as seen in the music of other 20th century composers such as Stravinsky and Prokofiev. Neo Class ...
Classical music (solucionario)
... At the end of the Baroque era, operas were spectacular, dramatic shows performed in courts to demonstrate royal and aristocratic power and wealth. In the Classical period composers decided to change their compositional styles to make serious opera less artificial. The composer who started this refor ...
... At the end of the Baroque era, operas were spectacular, dramatic shows performed in courts to demonstrate royal and aristocratic power and wealth. In the Classical period composers decided to change their compositional styles to make serious opera less artificial. The composer who started this refor ...
LONDON HAYDN QUARTET
... albeit one containing as much humour as any scherzo. The work finishes with an action-packed movement which at first seems like it might be a straightforward Rondo but turns out to be a full-scale sonata movement. Since Mozart and Haydn had met in 1784, shortly before these Op. 50 quartets were writ ...
... albeit one containing as much humour as any scherzo. The work finishes with an action-packed movement which at first seems like it might be a straightforward Rondo but turns out to be a full-scale sonata movement. Since Mozart and Haydn had met in 1784, shortly before these Op. 50 quartets were writ ...
Instrumental Music in the Baroque Era
... The continuo part consisted of a a basslline (the basso continuo) to be played on a low instrument such as cello or viola da gamba. But the composer expected another continuo player, on harpsichord or organ, to fill in the harmonies bu building up chords on the bass-line. Often, composers wrote figu ...
... The continuo part consisted of a a basslline (the basso continuo) to be played on a low instrument such as cello or viola da gamba. But the composer expected another continuo player, on harpsichord or organ, to fill in the harmonies bu building up chords on the bass-line. Often, composers wrote figu ...
Wolfgang Mozart, Serenade No. 10 for winds K. 361 “Gran Partita”
... The Serenade No. 10 for winds begins with a slow introduction in B flat major in which tutti dotted rhythms are set in opposition to solo passages for clarinet and oboe. This leads into the Allegro moderato, which is a monothematic sonata form. The first theme of the exposition opens, originally pre ...
... The Serenade No. 10 for winds begins with a slow introduction in B flat major in which tutti dotted rhythms are set in opposition to solo passages for clarinet and oboe. This leads into the Allegro moderato, which is a monothematic sonata form. The first theme of the exposition opens, originally pre ...
Breaking Convention: Music and Modernism AK 2100 Nov. 9, 2005
... The Classical Form • A written musical tradition • Music for its own sake - not a vehicle for other forms of content. Concerned with universality as opposed to the individual or local • Classical Sonata form: a way of organizing a work of music. Linked to the structures of other forms - symphony, c ...
... The Classical Form • A written musical tradition • Music for its own sake - not a vehicle for other forms of content. Concerned with universality as opposed to the individual or local • Classical Sonata form: a way of organizing a work of music. Linked to the structures of other forms - symphony, c ...
Ludwig Van Beethoven
... Public debut in Vienna on March 29, 1795 “first” piano concerto in C Major Debut Symphony No. 1 in C Major Symphony No. 3, his greatest work to date “ One of the most original, most sublime, and most profound products that the entire genre of music has ...
... Public debut in Vienna on March 29, 1795 “first” piano concerto in C Major Debut Symphony No. 1 in C Major Symphony No. 3, his greatest work to date “ One of the most original, most sublime, and most profound products that the entire genre of music has ...
Dr. Phil`s February 2013 Reviews
... valedictory mood reminiscent of the ending of his Second (“London”) Symphony of 1922. Kalmar does a wonderful job of capturing the subtle moods of this beautifully and effectively understated symphony that does not need to rely on histrionics to make its points. Most beautiful movement of all is th ...
... valedictory mood reminiscent of the ending of his Second (“London”) Symphony of 1922. Kalmar does a wonderful job of capturing the subtle moods of this beautifully and effectively understated symphony that does not need to rely on histrionics to make its points. Most beautiful movement of all is th ...
Mendelssohn, Cello Sonata No. 2 in D Major, Op. 58
... Listeners may even have the impression that the E-flat Quintet is an extension of Schumann’s solo piano music, since the strings so often double the piano part or oppose it as a block. Also, due to a lack of practical experience with strings, Schumann’s thematic material (however sublime) sometimes ...
... Listeners may even have the impression that the E-flat Quintet is an extension of Schumann’s solo piano music, since the strings so often double the piano part or oppose it as a block. Also, due to a lack of practical experience with strings, Schumann’s thematic material (however sublime) sometimes ...
Beethoven Symphony No. 3 Listening Guide
... In m. 284 a new theme is introduced in E minor. It is debated whether this is actually a new theme, but either way it was surprising that Beethoven introduced a new sound at this point in the piece ...
... In m. 284 a new theme is introduced in E minor. It is debated whether this is actually a new theme, but either way it was surprising that Beethoven introduced a new sound at this point in the piece ...
Example Paraphrase/ synonym ...when it comes to that music which
... commune with each other or with a few friends... ...some taking part in the ceremonies and others dreaming of being singled out by the Sun King to hold a candle... Accompanying parts were completely subordinated to the principle melodic line. Imitative counterpoint was abandoned since it was looked ...
... commune with each other or with a few friends... ...some taking part in the ceremonies and others dreaming of being singled out by the Sun King to hold a candle... Accompanying parts were completely subordinated to the principle melodic line. Imitative counterpoint was abandoned since it was looked ...
program notes - Rockport Music
... The second of Chopin’s three piano sonatas was composed during his first year at the rural estate of his long-time companion George Sand (nom de plume of the woman novelist Amantine Lucile Aurore Dupin). During the years that he spent at Nohant, in the French countryside, Chopin composed some of his ...
... The second of Chopin’s three piano sonatas was composed during his first year at the rural estate of his long-time companion George Sand (nom de plume of the woman novelist Amantine Lucile Aurore Dupin). During the years that he spent at Nohant, in the French countryside, Chopin composed some of his ...
Musical Terms and Concepts
... in a theme and variations, the theme itself is identifiable. Variation sets are commonly used in the Classical period as the slow movement of a string quartet or symphony. fugue: a one-subject (also called monothematic) composition in which the subject is continually restated on different pitches an ...
... in a theme and variations, the theme itself is identifiable. Variation sets are commonly used in the Classical period as the slow movement of a string quartet or symphony. fugue: a one-subject (also called monothematic) composition in which the subject is continually restated on different pitches an ...
Franz Joseph Haydn Symphony No. 83 in G minor, “La Poule” (1732
... balance, poise, and restraint: what Robert Schumann called “a Grecian lightness and grace.” The symphony’s strangeness is clear from the start: a faint pulsation hums in the violas before any trace of a theme emerges. That ubiquitous melody in the violins seems hesitant, lurching and withdrawing thr ...
... balance, poise, and restraint: what Robert Schumann called “a Grecian lightness and grace.” The symphony’s strangeness is clear from the start: a faint pulsation hums in the violas before any trace of a theme emerges. That ubiquitous melody in the violins seems hesitant, lurching and withdrawing thr ...
Program Note Examples
... enharmonic change before the return to the tonic, are symbolic. The final movement is introduced by a kind of darkly heroic cavatina of the first violin and then turns to G major, but it is the disconsolate major that Mozart utilizes in so many of his last works. The theme of this Rondo seems somewh ...
... enharmonic change before the return to the tonic, are symbolic. The final movement is introduced by a kind of darkly heroic cavatina of the first violin and then turns to G major, but it is the disconsolate major that Mozart utilizes in so many of his last works. The theme of this Rondo seems somewh ...
PROGRAM NOTES by Steven Lowe SERGEI
... the early 1930s Prokofiev was beginning to jettison the hard-‐edged hyper-‐dissonant style he had often employed previously (e.g., Scythian Suite and Second Symphony) in favor of a neo-‐Romantic melodic/harmonic ...
... the early 1930s Prokofiev was beginning to jettison the hard-‐edged hyper-‐dissonant style he had often employed previously (e.g., Scythian Suite and Second Symphony) in favor of a neo-‐Romantic melodic/harmonic ...
Solo Faculty Recital
... musician, the teenager studied music with a mindset that could not be broken by the arduous tasks set before him, and this young man lived to practice the piano for countless number of hours. Everyone in the town knew that he must leave (his father was reportedly abusive and also an alcoholic) in or ...
... musician, the teenager studied music with a mindset that could not be broken by the arduous tasks set before him, and this young man lived to practice the piano for countless number of hours. Everyone in the town knew that he must leave (his father was reportedly abusive and also an alcoholic) in or ...
CHAPTER 30
... ripieno. Ritornello form is usually employed in the serious first movement of a concerto. The harmonic and melodic interplay between the more stable ritornello, and the more daring and adventuresome solo or concertino episodes goes to the very heart of the concerto, a spirited giveand-take between o ...
... ripieno. Ritornello form is usually employed in the serious first movement of a concerto. The harmonic and melodic interplay between the more stable ritornello, and the more daring and adventuresome solo or concertino episodes goes to the very heart of the concerto, a spirited giveand-take between o ...
MUSINGU HIGH SCHOOL MUSIC FORM 3 DEC HOLIDAY
... (i) modulate from major to minor, dominant or subdominant. (ii) modulate from minor to major keys and back to minor key. 3. (a) Translate melodies from solfa to staff notations and vice versa. (b) Construct harmonic and melodic chromatic scales. (c) Change from open to closed score and vice versa 4. ...
... (i) modulate from major to minor, dominant or subdominant. (ii) modulate from minor to major keys and back to minor key. 3. (a) Translate melodies from solfa to staff notations and vice versa. (b) Construct harmonic and melodic chromatic scales. (c) Change from open to closed score and vice versa 4. ...
1 CHAN 10807 – SCHUBERT Schubert: Works for Solo Piano
... birthday when he strung together the twentythree sections, all in different tempi, that pass as that first effort for piano duet. It was, a harsh critic may say, a teenage (but only just) sprawl. As the years passed, he would opt for fewer sections, and – with the ‘Wanderer’ Fantasy in C major, D 76 ...
... birthday when he strung together the twentythree sections, all in different tempi, that pass as that first effort for piano duet. It was, a harsh critic may say, a teenage (but only just) sprawl. As the years passed, he would opt for fewer sections, and – with the ‘Wanderer’ Fantasy in C major, D 76 ...
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.