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Analysis of 2 nd Symphony no 3 by Beethoven
Analysis of 2 nd Symphony no 3 by Beethoven
Franz schubert musical analysis
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As Schubert once wrote, "I have come into this world for no purpose but to compose," yet at the time he composed the Second Symphony, it appeared that Schubert’s future was that of a teacher, following in the footsteps of his father. However, a gift as prodigious as Schubert’s could not be restrained, and in those few spare moments away from his teaching position, a deluge of music poured from Schubert’s pen. Among the returns of his extraordinary productivity are two masses, four operas, a string quartet, and his second and third symphonies not to mentions scores of songs, and all that during 1815 alone. That not all of this music is especially memorable is a side note to the dedication required to simply put all those notes down on paper, a monumental undertaking that is nearly beyond imagination, probably bordering on the obsessive. These early works do, however, illustrate a blossoming genius. They are smartly composed and show thoughtful considerations of the mediums, belying both his age and the incredible alacrity with which they were written. Within a few years, at the ...
Ostwald, Peter. Robert Schumann - The inner voice of a musical genius. Boston: Northeastern University Press, 1985. 139. Book.
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.
Harutunian, John Martin. Haydn’s and Mozart’s Sonata Styles: A Comparison. Lewiston, New York: E. Mellen Press, 205.
...ts of fever and general ill-health. And in his last ten years in Vienna, the constant need to write commissioned work - for he was the first of the composing freelances, with no regular patrons or court salaries - had worn him down to the point where one bout of fever was sure to finish him off. In July he'd had the anonymous commission to write a Requiem for the Dead; but that had been progressing slowly, because he'd been busy with two operas - La Clemenza di Tito and The Magic Flute - and two cantatas at the same time. Thirty-five years of artistic, social and personal pressure was taking its toll.
In 1808, Schubert enrolled at the Stadtkonvikt, a school that trained young vocalists for church and court, with a scholarship that gave him a spot at the court’s chapel choir. At the school, he was taught by Wenzel Ruzicka, the imperial court organist, and Antonio Salieri, highly esteemed composer who venerated Schubert’s talents in music. Salieri adored Schubert and his skills as a musician that he is known to have said, “He knows everything already, he said; he has been taught by God.” (Wechsberg) Then, in 1812, Schubert’s voice broke, which resulted in his forced leave...
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.
Born to poor parents in Hamburg, Germany, Brahms’s first music lessons come from his father who played the double bass. Known as a prodigy of the piano at nine, he quickly started to study seriously and began to compose. Incredibly, at fifteen he gave a public concert and by the time he turned twenty, he had composed piano pieces that are still played today. Moreover, after he taught at Dusseldorf for some time, he became attached to the court of Lippe-Detmold in which he settled until 1860. Constantly composing, he again resided in Hamburg after 1860. For the first time, he visited Vienna in 1862 and remained there. He spent increasingly more of his time in composition during the last twenty years of his life. Furthermore, he went on tours to play and conduct his own compositions, and received increasing honors and popularity. Brahms never married and also never left the continent of Europe, refusing to even visit England when Cambridge University desired to grant him an honorary degree. He was a humorous, gruff and a rather disorderly man, and by the 1890’s, he had become one of the most distinguished citizens of Vienna. (Weinstock 457).
His astonishing understanding of musical rudiments was further cemented at age seven by his first teacher Otto Friedrich Willibald Cossel, with piano literature ranging from Bach to Schubert to Clementi (Musgrave 10). The young gifted talent quickly matured, with his compositions being sedulously characterized in craft similar to the seasoned taste of aged liquor. Following in the wake of Beethoven, his style of romanticism seemed restrained, and viewed as being confined to classical forms. With his preference towards absolute music, his works demonstrated “as [Ian] McEwan/ [Clive] Linley would have it, at the intersection of emotion and reason” and of “powerful intellect and of passionate expressivity” (Platt and Smith 4). However, being the headstrong romantic that he is, he manipulated the limiting factor into an area of expanse, in which he developed his music into seriously emotional, imaginative works of art.... ...
One of the most wonderful ways that historians can correctly observe the times of our musical forefathers is from recovering historical records of many varieties. These can include journals, manuscripts, and in the case of Beethoven, letters to his brothers known as the Heligenstadt Testament. Written on October 6th, 1802 to Carl and Johann, it provides the readers, especially musicians, with valuable and rather heartbreaking insight into the very personal, not to mention very misunderstood, life of Beethoven. If we delve into what time in his life this was written, it helps us grasp the hidden emotion and meaningful undertones that appear in his music.
Johannes Brahms was a famous German composer that was born in Hamburg on 7 May 1833. “Beethoven, who was to cast such a long shadow over the mature man, had been dead for six years; Schubert, whom he revered almost as much, for five” (Holmes 7). Brahms’s father was a musician and his everyday repetitions supported boy’s interest to music. The man made a great career as a pianist and composer. Unlike Lizst and Wagner, who represented new movement of a descriptive music, Brahms preferred to use German classical musical compositions as a basis for his works. As the composer opposed the “music of the future” movement, some experts could call him a conservator. However, many authors believe Brahms was a progressive composer. This issue became the main idea of the essay Brahms the Progressive written by Arnold Shoenberg. The author had a purpose to prove this “classicist [and] academician, was a great innovator in the realm of musical language, that, in fact, he was a great progressive” (Shoenberg 56). Brahms’s music was used as a
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.
The experience that brought about the conception of my understanding is starkly fixed in my memory. I was at a concert featuring one of Schubert’s Suites for String Quartet and my lack of familiarity with the work only served to heighten my already bursting excitement. They were late getting started and the audience around me fidgeted and chattered. I ignored them, sitting still in my seat, tense with anticipation. Finally the lights dimmed and a pregnant silence took hold. Despite my expectancy I was unprepared for the sudden eruption of applause like a bomb detonating in the hall as the four black figures strode onto the stage. Reminding me of Virginia Woolf’s description in The String Quartet, the performers “seated themselves facing the white squares under the downpour of light, rested the tips of their bows on the music stand, [and] with a simultaneous movement lifted them.” I leaned forward on my seat, straining to hear the first note even before it sounded. With an almost telepathic communication from the first violin, it began. From that moment I was lost. The audience, the musicians, even the music itself was forgotten, swept away by the surge of emotions that engulfed me. As I listened, or rather encountered the exquisite performance, for it was more intimate than listening, I realized with more force than ever before, that this was what I wanted to do. I wanted to make people feel like this when I sang.
Robert Schumann (June 8, 1810 - July 29, 1856) was a famous German composer and music critic of the Romantic Era. He was known for many of his piano, vocal, choral and orchestral works, but had only composed mainly for piano up until 1840 when he married his wife Clara Wieck. Out of Robert Schumann’s short, well-lived life, he only wrote four symphonies in his lifetime. These Symphonies were: (1841) Symphony No. 1 in B-flat major, Op. 38 ( “Spring Symphony”), (1847) Symphony No. 2 in C major, Op. 61, (1850), Symphony No. 3 in E-flat major, Op. 97 (“Rhenish”), and ( 1841) Symphony No. 4 in D minor, Op. 120. 1841 was named Schumann’s symphony year, because it was the year that most of his symphonies were composed and performed, causing him to be one of the highlights of the Romantic Era. In this paper, drawing upon scores and recordings from Robert Schumann's Symphony in D minor Op. 120 and Symphony in B flat Major, op. 38 "Spring", peer reviewed articles and dissertations, and books published, I will argue that, Robert Schumann's Symphony year was in fact the year 1841, the year where his Symphony's became successful and prominent.
Comparing and contrasting two greatly proliferated composers is always a difficult task, regardless of the fact that they were contemporaries. In this paper, I will be comparing Franz Joseph Haydn and Ludwig van Beethoven because of their interesting dynamic on an interpersonal level, as well as what can be gained by studying the differences between their music and trademarks. Also, because of the many aspects of Beethoven and Haydn’s lives that were occasionally manifested inside of their music.
Franz Liszt is said to be the most astounding piano virtuosos that existed during the Romantic era. This essay will discuss his achievements as a pianist as well as a composer. This essay will examine his life and will examine what influenced him at an early age. It will also look at his accomplishments as a pianist as well as a composer and examine how he became as well known as he is today. It will use his background to show what exactly influenced him to become a successful pianist and composer and it will discuss how essential he was during the Romantic era.