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Franz Josef Haydn
Franz Josef Haydn wrote quite a few concerti for piano, which have never really enjoyed the popularity of such pieces by Wolfgang Amadeus Mozart. While some accuse Haydn`s piano concerti of being too 'light' or having 'no meaning', I find those to be inaccurate surface impressions. I have found a great deal of enjoyment from these pieces of Haydn, and one of my favourites of his piano concerti is the seventh.
Haydn`s seventh piano concerto was written in the key of F Major, and is in incredibly cheerful work. One of my favourite things to do with this piece was to play it on a CD player at work. It seems, at least for me, to go well into the background, and doesn`t really require full attention to be effective. I have, of course, given it full attention, and it is superb either way; it is a piece of music to cheer a bad mood, or provide happy background sound to any environment.
In the first movement, an allegro moderato, the piano starts by playing with the orchestra, which was not found in the concerti of Mozart or most other contemporaries. I find it to be a good move on Haydn`s part, providing what approaches the ear as added happiness. The sound of the piano with the orchestra seems to make it seem somehow more alive and vibrant than it would with orchestra alone. The melody is, of course, in Haydn`s usual cheerful style, intended to bring entertainment and pleasant emotions. The orchestral opening has a sort of climax with a fugue, that repeats later in the movement in modified form; I always love fugues!
The second movement, andante, opens with a fluid piano solo introducing the theme quietly. Then, the orchestra takes it over. Everything has a soothing feel to it, bringing relaxation to the listener. It is wonderfully calming and the orchestra comes in occasionally to supplement the piano, which is often alone. The movement is very short, soon fading into silence.
In the third movement comes the fantastic ending of the seventh piano concerto, a cheerful presto. The opening piano/orchestral introduction of the theme is one of the most cheerful examples of concerto writing I have ever heard, and the entire movement alternates between this wonderful melody and some calming moments. The orchestra is often there to emphasize the piano, until together they introduce a climax of the sort that causes one to whistle and think on those few seconds for hours.
Beethoven's Symphony No.3 also known as the Eroica consists of four parts, namely, allegro con brio, adagio assai, scherzo and allegro, which is the standard structure of a symphony. In this work, the analysis focuses on the first movement so as to show how Beethoven enriched symphony. The first movement has a distinctive sonority and texture. It is considerably long as it takes about 14 minutes (it may depend on the version). Some complete symphonies from the classical period are about the same length as this first movement, so Beethoven's work set aside from the traditional symphony. It tells other composers that there is no such thing as a standard length of symphony's movement. In order to understand the first movement, one needs to consider the historical framework. Beethoven composed his 3rd symphony at the beginning of the XIX century when Europe underwent through a lot of political changes. The absolutism was coming to an end, so freedom was in everyone's heart. Beethoven manages to convey particular feelings and emotions t...
Symphony No.1 is melodic style. This work is quiet. This piece is loaded with appeal; the subject is smooth and lends itself well to fugal improvements through which the arranger has possessed the capacity to adventure it in smart and witty ways. This is splendidly created music, clear, cautious, however ailing in solid identity, chilling and at times rather little objected.
The music begins by introducing all the fundamental/primary material which the entire movement is based on. In bar 7 the violins play the first theme (in D Major) which includes the two-note descending motive and lasts until bar 25. In the last beat of bar 25 the "famous Mahlerian" major-minor duality becomes evident. The contrasting minor key theme is introduced.
Harutunian, John Martin. Haydn’s and Mozart’s Sonata Styles: A Comparison. Lewiston, New York: E. Mellen Press, 205.
Wolfgang Amadeus Mozart baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart lived from January 27, 1756 to December 5, 1791. Mozart was a very influential and prolific composer of more than 600 works, including symphonies, concertante, chamber, piano, opera, and choral music. Regarded as a child prodigy, Mozart composed and performed in the European courts from the age of five, and was engaged at the Salzburg court at 17. Mozart’s musical style can be classified as Classical, although he learned from many of his contemporaries throughout his musical career. In order to better understand Mozart’s genius it is best to begin looking at his earliest contributions to the musical world as a child. From there, an exploration of his composition work in the employ of various patrons gives a more rounded picture of the development of Mozart’s musical style. Mozart is one of the most enduring composers, with his work continuing to resonate with modern audiences.
The first movement begins with the cello. Shortly afterwards, the viola, second and first violins enter successively in a canonic treatment of a four-note motif: D, E-flat, C and B.
There are several moments throughout the song where it goes from one extreme dynamic to the other in a matter of moments; Dvorak was clearly a fan of crescendo. In the exposition of Movement I, the full orchestra comes together to play theme 1 very loudly but as they transition, only the oboes and flutes are left playing a theme. Later, the development ends with a sudden change from a loud climax by the full orchestra to very softly played themes. In Movement III, the orchestra plays the introduction, repeats, and ends the introduction with each instrument demanding for its voice to be heard, which is immediately followed by an almost silence. Later, the movement ends with a decrescendo that goes completely silent, only to be interrupted by a final few notes from the orchestra. Lastly, the final Movement IV includes contrast as well. During the recapitulation, the whole orchestra, including the brass, proclaims theme 1 gloriously. This is soon replaced, however, by a much calmer and quieter sound. The entire piece comes to a close with the most glorious crescendo of all. The coda begins with the full force of the orchestra, dies down a lot, but then returns as all the instruments join in with the final presentation of theme
Beethoven’s Fourth Piano Concerto is considered to be one of the central works of the piano concerto literature. It’s been widely recorded and performed. On September 17, the Pacific Chamber Orchestra, under the
He is mostly known for the 104 symphonies that he has created. All the earlier sympathies are still played and well known around the world but not as well-known as the final twelve. While he was traveling in London he created two sets of six different sympathies that he had created while there. These twelve sympathies are still very valid and often played in orchestras all over the world today. These twelve sympathies were the last ones created by Haydn and are the sympathies that he had mostly played till his death. These sympathies are still changing the way we look at music today. They are enthusiastic and intriguing to listen to by the upbeat rhythm at points and the amazing sounds created by the orchestral. His final works that he had composed before his death were the Creation and Seasons. These works were some of his most influential and important works. They changed the way that he had been composing his music as he was taking a break in his sympathies. His works made music change and grow into a more wide range of ideas and ways of looking at them. These works that he composed made ideas of using the sonata form more frequent through other music, like by Mozart. His music in these sympathies used very many different themes and used frequently through
The third movement, Valse, starts out with strings creating a very uneasy melody, foreshadowing something ahead in the melody. The motto theme is repeated again in this movement which creates a feeling of nostalgia for the tragic opening of the symphony. The fourth and the last movement start out with a fully synchronized and a major mode. The last movement contains many repetitive structures but also has some delicate structures such as the part including the woodwinds. The tempo of the last movement is constant and keeps the same pace giving the audience a feel of steadiness, this piece is also marked by the pianissimo, which helps with the effect. Overall, the Tchaikovsky’s Symphony No, 5 created a perfect atmosphere for ending the day with Bakersfield Symphony Orchestra.
Haydn handles the melodies in his pieces of music by Violins I & II begin the Finale with the lowest string tuned to F, but tune up to G in the course of the music to create a comical effect. In Haydn’s piece the melodies are dragged out and the musical notes and sound are not close together. On the other hand, Beethoven’s musical notes for the melody sounded conjunct and close together. Although Haydn's later works often showed a greater fluidity between distant keys, Beethoven's innovation was the ability to rapidly establish a solidity in juxtaposing different keys and unexpected notes to join them. Haydn placed the great weight of a musical movement in the statement of ideas called the exposition, for Beethoven the development section of a sonata form became the heart of the work. is his extensive use of forceful, marked, and even stark rhythmic patterns throughout his compositions and, in particular, in his themes and motifs, some of which are primarily rhythmic rather than melodic. In Haydn’s music the melodies moved smoothly around the instruments in the piece because it was distinct that the only instruments played in the piece was a violin. In Beethoven’s music the melodies where close together so it was harder for me to notice that there was a cello playing in the background also with the violin. The composer that tend s to move melodies from instruments to instruments is Beethoven because he uses more instrument at different scales. This has an effect because
The First Symphony represents an extreme case in this regard. The foundation for the first movement is the music from the second piece of cycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer):”Ging heat morgen über’s Feld” (“Went this morning across the field”)., which Mahler composed in 1884. The text of this song, expressing an affirmation of life and intimacy of nature, frames the poetic idea in this movement. The second movement is a mixture of länder (a dance), and a waltz. Motifs from the song Hans und Grete of 1880 are planted in this movement. The primary characteristic of the funeral-march third movement may be seen in its changes in mood from one extreme to the other. It quotes the melody from the student round Bruder Martin (Brother Martin, Are You Sleeping) in the first part of the movement. In the lyric middle section (mm.83-112), Mahler adopted the last stanza from the last selection of Lieder eines fahrenden Gesellen,- “Die zwei blauen Augen von meiner Schatz” (“The Two Blue Eyes of My Beloved”). The song stanza tells about the repose and forgetfulness that the wearied traveler found under the linden tree. For the Finale, Mahler borrowed various motivic symbols from Franz Liszt(1811-1886)’s Dante Symphony of 1886, as well as the Grail theme from Richard Wagner(1813-1883)’s opera, Parsifal of
Imagine yourself at a symphony concert and being moved by the first movement of the piece. Now picture yourself getting lulled by the sweet, slow movement of the second movement, when all the sudden you are startled by a sudden burst of sound coming from the orchestra. What I just described is Josef Haydn’s Symphony No. 94, also known as “The Surprise” Symphony. The 94th symphony is one of the 104 symphonies Haydn created in his musical career. Haydn’s best-known symphonies, however, were his later symphonies (Nos. 93- 104), also known as his London Symphonies. The significance of these symphonies were the stylistic contrasts of his
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
(Franz) Joseph Haydn was an Austrian composer whose musical works were composed primarily during the age of Classical music. Credited for the development and advancement of chamber music, he wrote 107 symphonies, 68 string quartets, 62 piano sonatas, 45 piano trios, 14 masses, 24 operas as well as oratorios, such as The Creation and The Seasons (Wenborn). The public eye viewed Haydn as the “Father of the Symphony”, while his students preferred calling him “Papa Haydn” due to the father-like nature he expressed toward them while continuing their musical studies (Webster, Intro & Clark, 30). Haydn’s musical career was a depiction of his personal perseverance and dedication toward music, which would impact music forever.