Vivaldi’s deft coordination of melody and harmony was much admired by Johann Sebastian Bach who absorbed the Italian style through his study and transcription of his concertos and trio-sonatas. This influence is particularly apparent in Bach's Brandenburg Concertos. Other distinctive elements of Vivaldi's style included a fluid alternation of major and minor tonalities, a highly progressive use of dissonance and rich harmonies, and an innate melodic gift particularly in slow movements. His vocal music has been criticized for perfunctory text-setting and violinist vocal writing, but there are examples of great skill and inspiration in this genre such as his Gloria or Magnificat and his virtuosic and highly expressive motets for solo voice. Vivaldi was unquestionably a master orchestrator who explored the idiomatic potential of the many instruments for which he wrote.
The Requiem is set in D minor giving it a modal feel. The orchestra consists of and scored for two basset horns in F, two trumpets in D, two bassoons, three trombones , timpani consisting of two drums , violins, viola and basso continuo(cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and an SATB mixed choir. All of these constitute together to form the famous orchestral piece. In this piece there are suggestions of orchestral innovations of the classical era.
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.
Mozart’s Symphony No. 40 is effectively composed through the use of a specific form, elements of music, and using the appropriate instruments so one can see brilliant scenes unfolding. First, let’s begin by looking at the form Mozart created the symphony in. Mozart uses the sonata form for this composition, which became the most widely used form during the Classical Period. Sonata form presents a series of procedures for the appropriate structuring of a piece.
The sonata begins with the Allegro con brio with lighthearted rondo variations. The most interesting aspect of this movements is that Haydn intentionally returned to the theme of the Sonata in C-sharp Minor, Hob. XVI: 36. However, the new movement includes two independent episodes, one in the tonic and the other in its relative minor. The Adagio movement is rich in ornamentation.
Romantic music was the favored genre of the nineteenth century. There were a variety of elements that influenced romantic compositions during this time - some factors were nationalism, pride, money and social constraints. There was also an introduction of newer, move varied orchestration. also, one characteristic that implied a work of music was romantic was that there was a tension in the climax rather than a release. One composer that stood out during this period was Johannes Brahms, a traditionalist who wanted to honor German musical customs while creating innovative romantic symphonies.
It is true that the presence of the melody, rhythm and harmony of a piece is important but what makes the timbre stand out from all these elements is that it explores the different distinct tone quality of the different types of instruments. Hence, developing and creating great potential with good quality sounds in the musical world. After explaining the meaning and significance of timbre, we shall now explore the effects created by the timbre from the four brass instruments used in the Brasses-sion in Concert! Let us begin with the trumpet. In the musical pieces played, the trumpet can be easily detected, quickly getting your attention and affecting your mood because of the loud, vibrant, energetic and lively sound it is emitting.
Mozart also added to the symphony by contrasting memorable lyric themes in full sounding orchestral settings. “The elements in the formation of the early classical style are in short, periodic, articulated phrase. Articulated, periodic phrasing brought about two fundamental alterations in the nature of the eighteenth-century music: one was a heightened, sensitivity to symmetry, and the second was a rhythmic texture of great variety, with the different rhythms not contrasted or super-imposed, but passing logically and easily into each other” (Rosen 58). The classical characteristics didn’t appear one by one, but at different times during this important period in history. The classical era, with the progress of the classical music, at times was, irregular.
The exposition set the tone with string instruments followed by the entire orchestra repeating in a march-like character. The bridge was similar in mood to the opening and was announced by horns. The recapitulation led to a long coda that punctuated the ending which built to an exciting climax accentuated by a dynamic fortissimo resolution to the frenzied tension. This joyful finale was great fun to listen to and a most excellent way to end the
We are then presented –in a piano violin- the essential element of the first theme. Then, the music picks up a faster pace and energy until it reaches a dialogue between the oboes and the ba... ... middle of paper ... ... first is grandiose and passionate whilst the second is tender and pleasant. The second one has a pastoral feel to it and brings the woodwinds to the forefront with its simple melody. The third in minor mode is quite melancholic due to the cello’s texture taking charge of the melody. Finally, the fourth movement has a more mysterious and dramatic character, -reminiscent at moments of military campaigns- to finally close with a calmer attitude and a pianissimo by the whole orchestra.