Mozart's Piano Sonata in A Major
The recognised style in the classical period in which this was written
was to write sonatas in Sonata form- the concept of a recapituation,
development and exposition. Indeed, the majority of Mozarts other
sonatas were written like this. However, this sonata has a different
but very distinct form. The first movement is a theme and a set of six
variations. Each variation aswell as the theme comprises of four four
bar phrases, as illustrated below. This form allowed Mozart to keep
simple, recurring themes throughout the movement and so gave the
listener a more immediate experience compared to the complexities of
counterpoint of sonata form.
Within this first movement Mozart uses several musical teqniques to
'popularise' the music; attempts to embellish the notes and provide an
extremely melodious and pleasurable end product. The music is
decorated with semi-tonal appoggiaturas in the right hand and
acciaccaturas in the left, livening up the melody. As Mozart had just
discovered the complex textural variation a piano could give, the
piece is littered with sforzando markings, e.g. in the last beat of
bar 28.
Each vatiation has features thatare unique to themselves or are only
hinted at at different parts of the piece, e.g. the alberti bass in
fifth movement to emphasise the pace of the piece of the offbeat
chromatic quavers, driving the movement forward in the last (sixth)
movement. All these features serve to bring the audience in to the
music, in the same way the stuffing operates in a succulent turkey.
The second movement consists of a minuette and trio. These are
entirely diffent in form to the first movement and operate in Teurnary
form (ABA). The minuetto is traditionally a dance which is very
unusual at this point in a piece and makes the sonata stand out even
more to it's audience. This movement is all about dynamics with lots
of 'sfp' and a smattering of dissonant notes, an example being in the
second beat of the eighth bar when a G natural in the right hand
Kate Chopin's novella The Awakening tells the story of Edna Pontellier, a woman who throughout the novella tries to find herself. Edna begins the story in the role of the typical mother-woman distinctive of Creole society but as the novelette furthers so does the distance she puts between herself and society. Edna's search for independence and a way to stray from society's rules and ways of life is depicted through symbolism with birds, clothing, and Edna's process of learning to swim.
If you are part of society, I think it is safe to make the assumption you are familiar
Wolfgang Amadeus Mozart was born in 1756 in Salzburg, part of what is now modern day Austria (BBC, 2014). The son of a Musician, Leopold, Mozart was born into a musical upbringing. He quickly became very proficient at the harpsichord, and was even composing his own works at the ripe young age of 5 years old. Mozart gained important development on an early childhood trip through Europe, where he and his family met and played for famous musicians of the time. He was strongly influence by his interactions with Johann Christian Bach, the song of the much more famous Johann Sebastian Bach. Mozart also encountered opera throughout his journeys through Europe.
In Leo Tostoy’s The Kreutzer Sonata Posdnicheff is experiencing what can be best described as a dysfunctional relationship. After murdering his wife, many things come into play: the question of love, jealousy, and the idea of marriage itself. But one thing I found the most engaging is Posdnicheff’s homosexuality. Posdnicheff’s jealous rage and poor relationship with his wife and all women in his life are result of his own homosexual emotions.
My book report is from the biography of Mozart written by Robert W. Gutman. It was illustrated by the Jacket art courtesy of Music Lovers Society and was published by Harcourt Brace and Company. It was printed in New York City and the year of publication was 1999.
Wolfgang Amadeus Mozart, the Austrian wunderkind, was an accomplished and magnificently gifted musician. He is attributed with the composition of 22 operas in his 35-year life, but his most successful theatre work was his last. Die Zauberflöte, completed in 1791, was written specifically for the Theater auf der Wieden in Vienna. The theatre housed a troupe of actors led by Emmanuel Schikaneder, a versatile actor and writer who crafted the libretto of Zauberflöte and portrayed Papageno at its premiere. Zauberflöte was written in the singspiel operatic style; the libretto is in the vernacular – German – language, spoken dialogue is interspersed with recitative and aria, and there is a folk-like strophic style in the music. Schikaneder had known Mozart since 1780, but the two artists enjoyed a more meaningful relationship when Schikaneder became a member of the Viennese Masonic Lodge, to which Mozart already belonged. The libretto and score for Zauberflöte is replete with references and symbols from Freemasonry. Many scholars have asserted that the entire work is an allegory for the principles and ceremonies of the secret society. Regardless of this claim’s validity there is a deliberate tonal and structural language used in Zauberflöte, and the contributions of Schikaneder and Mozart leave much to be studied.
Since the Baroque era, the concerto has played a vital role in the music world. According to the Merriam Webster dictionary, a concerto is “a composition for one or more soloists and orchestra with three contrasting movements.” There are two main types: the concerto grosso and the classical concerto; both will be discussed later. While the term concerto is relatively easy to understand in context, when put into use the term becomes more complicated to define.
Wolfgang Amadeus Mozart was born on January 27th, 1756 in Salzburg, Austria. Wolfgang was one of seven children in the Mozart household. His father was Leopold Mozart and his mother Anna Maria Mozart. At age 11 Wolfgang was already a child prodigy and getting ready to spend the next three years on the road performing for dukes and barons, lords & ladies, and emperors and empresses, and kings & queens. His first trio composed was called Minuet and Trio in G major, he accomplished this at 5 years old. His first song was Twinkle Twinkle Little Star, he did this at age three. His first full scale opera was completed in 1768, when he was 12 years old. 1761 was the year his child prodigy began, he was five years old
Mozart composed many great works during his life, three of which are flute concertos, and also numerous orchestrated pieces, as well as opera hits. However, there is a great deal of speculation about Mozart’s attitudes towards writing flute oriented pieces, and whether or not he “rearranged” an oboe concerto in order to compose a piece suitable for his client’s needs, making us wonder if it is right to call his second Flute Concerto in D Major K.314, one of Mozart’s original works composed to display great skill and technique on the flute. In this paper I will use a few critiques to accurately display the accusations people have made against Mozart, and provide my own feedback into this situation.
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
Mozart was an influental composer of the classical music era. He put over 600 compositions and is considered to be the best musical composer till this day. Mozart knew how to blend comporary elements with triditional music and instuments to create his own musical distive style that people still admire today.
Kate Chopin’s story “The Story of an Hour” focuses on a married woman who does not find happiness in her marriage. When she hears of her husband’s death, the woman does not grieve for long before relishing the idea of freedom. Chopin’s story is an example of realism because it describes a life that is not controlled by extreme forces. Her story is about a married nineteenth-century woman with no “startling accomplishments or immense abilities” (1271). Chopin stays true to reality and depicts a life that seems as though it could happen to any person. Frank Norris comments that realism is the “smaller details of every-day life, things that are likely to happen between lunch and supper, small passions, restricted emotions…” (1741). “A Story of an Hour” tells the tale of an unhappy married woman which is not an unrealistic or extreme occurrence. Chopin conveys in her short story the feeling of marriage as an undesired bondage to some married women in the nineteenth century.
In relation to structure and style, the poem contains six stanzas of varying lengths. The first, second, and fourth stanzas
Ludwig van Beethoven was born in Bonn, Germany in 1770. His works are traditionally divided into three periods. In his early period, he focused on imitating classical style, although his personal characteristics of darker pieces, motivic development, and larger forms are already evident or foreshadowed. In his middle period, he is beginning to go deaf, and has realized that he cannot reverse the trend. His works express struggle and triumph. He stretches forms, with development sections becoming the bulk of his works. He is breaking from tradition and laying the groundwork for the romantic style period. In his late period, he breaks almost completely with classical forms, but ironically starts to study and use baroque forms and counterpoint. He is almost completely deaf, and his works become much more introspective with massive amounts of contrast between sections, ideas, and movements. He dies in Vienna in 1827.
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Germany. Born to Leopold Mozart, a violinist and a minor composer, learning music was a must for Amadeus. He was the youngest of seven children, even though most of his brothers and sisters died in early childhood. His eldest sister, Maria “Nannerl” Anna, began keyboard lessons at the age of seven with her father, while three-year-old Amadeus watched and listened. This acted as the first footstep for young Mozart’s long musical journey.