The main theme reappears in the end in an even darker manner. From the drama, expressive language to the grand gesture, this particular Fantasy reminds me of Beethoven in various ways. As a major art form in the era, Mozart’s piano sonatas presented “models of fluency”. They revealed both the composer’s and the player’s musical virtuosity and clarity.
Also similar to Scarlatti’s sonatas, Bach’s partita was cast in the popular baroque binary form. The Partita was spontaneous in structure; each movement began with a different structure. The partita opened with a French overture. The first movement had a slow, dotted rhythm, while the second movement exhibited a livelier rhythm with imitative polyphony, a texture that was favored in Baroque compositions. Next there were two dance suites, an Allemande moderately paced in quadruple meter, followed by a Courante, which is paced in triple meter for a livelier beat.
I noticed that each of his sonatas has its own character, story line, dialogue, and meaning. In Mozart’s piano sonata in B flat major, K. 281- first movement, there is dialogue between the different dynamics and phrase structures that is heard in his sonata. With this sonata, Mozart unquestionably creates a change in mood and dialogue by adding a sense of dynamics, timbre, registers and musical phrasing to each thematic material of a musical section. The piano sonata (K. 281), which was written in 1774, opens up with a tempo marking Allegro in B-flat major. The theme introduces an alluring act between the sixteenth triplets and 32nd notes.
Its dynamic is a piano to forte. There are periods of both dynamics through movement to of the symphony. As the second movement ends there are crescendos and decrescendos. The third movement begins fortissmo, and then decrescendos into piano. The ranges of the instruments make the movement sound very magical, yet ominous.
Mozart is able to dramatize this graceful movement by including a strong sense of chromaticism. While the movement begins almost entirely inside the parameters of E-flat major, chromaticism is slowly included further and further, until finally the movement is able to climax and softly fade away back to the opening gesture. Another prevalent feature of this style is various sighing features. This motive is usually double in the clarinet and viola, over a longing melody in the piano. Mozart is able to exaggerate this figure as well, by later having the piano join the other voices in this sighing action, leaving dramatic pauses in-between.
The First Movement This movement is in Sonata form with an introduction. The movement opens with a theme in the cellos and double basses which is built on the interval of a perfect fourth and a major second. At bar 6 the violins begin a very chromatic wedge figure which is continued through the violin, violas and flutes, with the cellos and basses holding on their note as a pedal. The flute part in bar 11 continues the wedge figure, and the upper flute part highlights the perfect fourth. At bar 12 the perfect fourth and major second sequence from the beginning is repeated, but the idea grows.
The piece begins with a solo and consists of much more choral and instrumental material. In the whole piece, Mozart relies on the orchestra to provide life to the text and mostly uses the strings and woodwinds to present this piece, while relying on the percussions and the timpani to provide effect for forceful motions. Overall, influence can be noticed from artists such as Bach and Handel. This piece, even though left unfinished made a mark in history as one of the most beautiful pieces ever written during the Baroque/Classical era.
Mozart completed this work in Vienna on March 24th, 1786. He was experiencing the peak of his creativity and was also working on many other major pieces like Le nozzed di Figaro, piano concertos K482 in E flat major and K 488 in A major. Concerto no.24 is very different from no.22 and no.23. The 2 piano concertos in major keys met the expectations of traditional concertos. The first movement of concerto no.24’s distinctiveness was balanced by the second movement’s simplicity (E flat major).
MUS 404: Keyboard Literature June 22, 2010 Piano Sonata No. 3 in b minor, Op. 58 by Frédéric Chopin Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
25 with an obbligato piano ” (Brown, 2007, 459). Being “something of an experiment” (Brown, 2007, 465), Gade explores the versatility of the piano as both an accompanying and a solo instrument, as in a symphony versus a concerto. This is echoed in Berlioz’s sentiments that “the piano can be seen in two ways: as an orchestral instrument, or as a complete little orchestra in itself” (Shepherd, 2008, 9). The symphony, which was a wedding gift to his wife, Sophie , opens with an unyielding declaration by the strings and contrasts quickly with a softer passage as the piano glides in with arpeggiated figures. While the absence of a double exposition clears doubts of the symphony being a concerto, it is hard to overlook the dialogues between the orchestra and the piano, which are typical of the concerto form.